LIBRARY) 

r  OF 

CALIFORNIA 

SAN  DIEGO 
••       , — ~-~^s 


THE   COLLECTED   WORKS 

HENRIK  IBSEN 


VOLUME  X 


THE   COLLECTED   WORKS   OF 

HENRIK     IBSEN 

Copyright  Edition.    Complete  in  11  Volumes 
12mo.    Price  $1.00  each 

ENTIRELY  REVISED  AND   EDITED   BY 

WILLIAM   ARCHER 

Volume  I.  Feast  of  Solhaug,  Lady  Inger,  Love's 
Comedy 

"  II.  The  Vikings  at  Helgoland,  The  Pre- 
tenders 

"      m.  Brand 

"      IV.  Peer  Gynt 

"       V.  Emperor  and  Galilean  (2  parts) 

"      VI.  League  of  Youth,  Pillars  of  Society 

"    VII.  A  Doll's  House,  Ghosts 

"  VIII.  An  Enemy  of  the  People,  The  Wild 
Duck 

"      IX.  Rosmersholm,  The  Lady  from  the  Sea 
X.  Hedda  Gabler,  The  Master  Builder 
"      XI.  Little  Eyolf,  John  Gabriel  Borkman, 
When  We  Dead  Awaken 

CHARLES   SCRIBNER'S    SONS 


THE    COLLECTED    WORKS   OF 

HENRIK    IBSEN 

COPYRIGHT  EDITION 
VOLUME   X 

HEDDA   GABLER 
THE    MASTER   BUILDER 

TRANSLATED    BY 

EDMUND  GOSSE  AND  WILLIAM  ARCHER 

WITH    INTRODUCTIONS    BY 

WILLIAM     ARCHER 


NEW    YORK 

CHARLES    SCRIBNER'S    SONS 
1907 


INTRODUCTIONS    BY    WILLIAM    ARCHER 
Copyright,  1907,  by  Charles  Scribner's  Sons 


CONTENTS 

PAGE 

INTRODUCTION  TO  "  HEDDA  GABLER  "    .      .      .  vii 

INTRODUCTION  TO  "THE  MASTER  BUILDER"     .      .     xxi 
" HEDDA  GABLER" 1 

Translated  by  EDMUND  GOSSE  and  WILLIAM  ARCHER 

"THE  MASTER  BUILDER" 187 

Translated  by  EDMUND  GOSSK  and  WILLIAM  ARCHER 


HEDDA    GABLER. 


course  with  the  fictitious  personages  was  begin- 
ning to  make  me  quite  nervous."  To  the  same 
correspondent  he  wrote  on  December  4 :  "  The 
title  of  the  play  is  Hedda  Gabler.  My  intention 
in  giving  it  this  name  was  to  indicate  that 
Hedda,  as  a  personality,  is  to  be  regarded  rather 
as  her  father's  daughter  than  as  her  husband's 
wife.  It  was  not  my  desire  to  deal  in  this  play 
with  so-called  problems.  What  I  principally 
wanted  to  do  was  to  depict  human  beings,  hu- 
man emotions,  and  human  destinies,  upon  a 
groundwork  of  certain  of  the  social  conditions 
and  principles  of  the  present  day." 

So  far  we  read  the  history  of  the  play  in  the 
official  "  Correspondence." 1  Some  interesting 
glimpses  into  the  poet's  moods  during  the  period 
between  the  completion  of  The  Lady  from  the 
Sea  and  the  publication  of  Hedda  Gabler  are 
to  be  found  in  the  series  of  letters  to  Fraulein 
Emilie  Bardach,  of  Vienna,  published  by  Dr. 
George  Brandes.2  This  young  lady  Ibsen  met  at 
Gossensass  in  the  Tyrol  in  the  autumn  of  1889. 
The  record  of  their  brief  friendship  belongs  to 
the  history  of  The  Master  Builder  rather  than 
to  that  of  Hedda  Gabler,  but  the  allusions  to  his 
work  in  his  letters  to  her  during  the  winter  of 
1889  demand  some  examination. 

So  early  as  October  7,  1889,  he  writes  to  her: 
"  A  new  poem  begins  to  dawn  in  me.  I  will  exe- 
cute it  this  winter,  and  try  to  transfer  to  it  the 
bright  atmosphere  of  the  summer.  But  I  feel 
that  it  will  end  in  sadness — such  is  my  nature." 
Was  this  "dawning"  poem  Hedda  Gabler  1  Or 

>  Letters  214,  216,  217,  219. 

2  In  the  Ibsen  volume  of  Die  Literatur  (Berlin). 


INTRODUCTION. 


IX 


was  it  rather  The  Master  Builder  that  was  ger- 
minating in  his  mind?  Who  shall  say?  The 
latter  hypothesis  seems  the  more  probable,  for  it 
is  hard  to  believe  that  at  any  stage  in  the  incu- 
bation of  Hedda  GaUer  he  can  have  conceived 
it  as  even  beginning  in  a  key  of  gaiety.  A  week 
later,  however,  he  appears  to  have  made  up  his 
mind  that  the  time  had  not  come  for  the  poetic 
utilisation  of  his  recent  experiences.  He  writes 
on  October  15:  "Here  I  sit  as  usual  at  my 
writing-table.  Now  I  would  fain  work,  but  am 
unable  to.  My  fancy,  indeed,  is  very  active. 
But  it  always  wanders  away.  It  wanders  where 
it  has  no  business  to  wander  during  working 
hours.  I  cannot  repress  my  summer  memories — 
nor  do  I  wish  to.  I  live  through  my  experiences 
again  and  again  and  yet  again.  To  transmute 
it  all  into  a  poem,  I  find,  in  the  meantime,  im- 
possible." Clearly,  then,  he  felt  that  his  imag- 
ination ought  to  have  been  engaged  on  some 
theme  having  no  relation  to  his  summer  experi- 
ences— the  theme,  no  doubt,  of  Hedda  Gabler. 
In  his  next  letter,  dated  October  29,  he  writes: 
"Do  not  be  troubled  because  I  cannot,  in  the 
meantime,  create  (dichten).  In  reality  I  am  for 
ever  creating,  or,  at  any  rate,  dreaming  of  some- 
thing which,  when  in  the  fulness  of  time  it 
ripens,  will  reveal  itself  as  a  creation  (Dicht- 
ung)."  On  November  19  he  says:  "I  am  very 
busily  occupied  with  preparations  for  my  new 
poem.  I  sit  almost  the  whole  day  at  my  writing- 
table.  Go  out  only  in  the  evening  for  a  little 
while."  The  five  following  letters  contain  no 
allusion  to  the  play;  but  on  September  18,  1890, 
he  wrote:  "My  wife  and  son  are  at  present  at 


HEDDA    G ABLER. 


Kiva,  on  the  Lake  of  Garda,  and  will  probably 
remain  there  until  the  middle  of  October,  or  even 
longer.  Thus  I  am  quite  alone  here,  and  cannot 
get  away.  The  new  play  on  which  I  am  at  pres- 
ent engaged  will  probably  not  be  ready  until  No- 
vember, though  I  sit  at  my  writing-table  daily, 
and  almost  the  whole  day  long." 

Here  ends  the  history  of  Hedda  Gdbler,  so  far 
as  the  poet's  letters  carry  us.  Its  hard  clear  out- 
lines, and  perhaps  somewhat  bleak  atmosphere, 
seem  to  have  resulted  from  a  sort  of  reaction 
against  the  sentimental  "  dreamery  "  begotten  of 
his  Gossensass  experiences.  He  sought  refuge  in 
the  chill  materialism  of  Hedda  from  the  ardent 
transcendentalism  of  Hilda,  whom  he  already 
heard  knocking  at  the  door.  He  was  not  yet  in 
the  mood  to  deal  with  her  on  the  plane  of  poetry.1 

Hedda  Gabler  was  published  in  Copenhagen 
on  December  16,  1890.  This  was  the  first  of 
Ibsen's  plays  to  be  translated  from  proof-sheets 
and  published  in  England  and  America  almost 
simultaneously  with  its  first  appearance  in  Scan- 
dinavia. The  earliest  theatrical  performance 
took  place  at  the  Residenz  Theater,  Munich,  on 
the  last  day  of  January  1891,  in  the  presence  of 
the  poet,  Frau  Conrad-Ramlo  playing  the  title- 
part.  The  Lessing  Theater,  Berlin,  followed  suit 
on  February  10.  Not  till  February  25  was  the 
play  seen  in  Copenhagen,  with  Fru  Hennings 
as  Hedda.  On  the  following  night  it  was  given 

1  Dr.  Julius  Elias  (Xrne  deutxche  Rundschau,  December 
1906,  p.  1462)  makes  the  curious  assertion  that  the  character 
of  Thea  Elvsted  was  in  part  borrowed  from  this  "  GossensaHser 
Hildetypus."  It  is  hard  to  see  how  even  Ibsen's  ingenuity 
could  distil  from  the  same  flower  two  such  different  essences 
as  Thea  and  Hilda. 


INTRODUCTION.  XI 


for  the  first  time  in  Christiania,  the  Norwegian 
Hedda  being  Eroken  Constance  Bruun.  It  was 
this  production  which  the  poet  saw  when  he 
visited  the  Christiania  Theater  for  the  first  time 
after  his  return  to  Norway,  August  28,  1891.  It 
would  take  pages  to  give  even  the  baldest  list  of 
the  productions  and  revivals  of  Hedda  Gdbler  in 
Scandinavia  and  Germany,  where  it  has  always 
ranked  among  Ibsen's  most  popular  works.  The 
admirable  production  of  the  play  by  Miss  Eliza- 
beth Robins  and  Miss  Marion  Lea,  at  the  Vaude- 
ville Theatre,  London,  April  20,  1891,  may  rank 
as  the  second  great  step  towards  the  popularisa- 
tion of  Ibsen  in  England,  the  first  being  the 
Charrington-Achurch  production  of  A  Doll's 
House  in  1889.  Miss  Robins  afterwards  repeated 
her  fine  performance  of  Hedda  many  times,  in 
London,  in  the  English  provinces,  and  in  New 
York.  The  character  has  also  been  acted  in 
London  by  Eleonora  Duse,  and  as  I  write  (March 
5,  1907)  by  Mrs.  Patrick  Campbell,  at  the  Court 
Theatre.  In  Australia  and  America,  Hedda  has 
frequently  been  acted  by  Miss  Nance  O'Neill  and 
other  actresses  —  quite  recently  by  a  Russian 
actress,  Madame  Alia  Nazimova,  who  (playing 
in  English)  seems  to  have  made  a  notable  suc- 
cess both  in  this  part  and  in  Nora.  The  first 
French  Hedda  Gabler  was  Mile.  Marthe  Brandes, 
who  played  the  part  at  the  Vaudeville  Theatre, 
Paris,  on  December  17,  1891,  the  performance 
being  introduced  by  a  lecture  by  M.  Jules  Le- 
maitre.  In  Holland,  in  Italy,  in  Russia,  the 
play  has  been  acted  times  without  number.  In 
short  (as  might  easily  have  been  foretold)  it  has 
rivalled  A  Doll's  House  in  world-wide  popularity. 


Xll  HEDDA    GABLER. 


It  has  been  suggested,1  I  think  without  suffi- 
cient ground,  that  Ibsen  deliberately  conceived 
Hedda  Gabler  as  an  "  international "  play,  and 
that  the  scene  is  really  the  "  west  end  "  of  any 
great  European  city.  To  me  it  seems  quite  clear 
that  Ibsen  had  Christiania  in  mind,  and  the 
Christiania  of  a  somewhat  earlier  period  than 
the  'nineties.  The  electric  cars,  telephones,  and 
other  conspicuous  factors  in  the  life  of  a  modern 
capital  are  notably  absent  from  the  play.  There 
is  no  electric  light  in  Secretary  Talk's  villa.  It 
is  still  the  habit  for  ladies  to  return  on  foot 
from  evening  parties,  with  gallant  swains  escort- 
ing them.  This  "  suburbanism,"  which  so  dis- 
tressed the  London  critics  of  1891,  was  charac- 
teristic of  the  Christiania  Ibsen  himself  had 
known  in  the  'sixties — the  Christiania  of  Love's 
Comedy — rather  than  of  the  greatly  extended 
and  modernised  city  of  the  end  of  the  century. 
Moreover,  Lovborg's  allusions  to  the  fiord,  and 
the  suggested  picture  of  Sheriff  Elvsted,  his 
family  and  his  avocations,  are  all  distinctively 
Norwegian.  The  truth  seems  to  be  very  simple 
— the  environment  and  the  subsidiary  personages 
are  all  thoroughly  national,  but  Hedda  herself  is 
an  "  international "  type,  a  product  of  civilisa- 
tion by  no  means  peculiar  to  Norway. 

We  cannot  point  to  any  individual  model  or 
models  who  "  sat  to  "  Ibsen  for  the  character  of 
Hedda.2  The  late  Grant  Allen  declared  that 

1  See  article  by  Herman  Bang  in  Neue  dentsche  Rundschau. 
December  1906,  p.  1495. 

2  Dr.  Brahm  (Neue  deutsrhe  Rundschau,  December  1906, 
p.  1422)  says  that  after  the  first  performance  of  Hedda  (l^bler 
in  Berlin  Ibsen  confided  to  him  that  the  character  had  been 
suggested  by  a  German  lady  whom  he  met  in  Munich,  and  who 


INTRODUCTION.  Xlll 


Hedda  was  "  nothing  more  nor  less  than  the  girl 
we  take  down  to  dinner  in  London  nineteen 
times  out  of  twenty";  in  which  case  Ibsen  must 
have  suffered  from  a  superfluity  of  models,  rather 
than  from  any  difficulty  in  finding  one.  But  the 
fact  is  that  in  this,  as  in  all  other  instances,  the 
word  "  model "  must  be  taken  in  a  very  different 
sense  from  that  in  which  it  is  commonly  used 
in  painting.  Ibsen  undoubtedly  used  models  for 
this  trait  and  that,  but  never  for  a  whole  figure. 
If  his  characters  can  be  called  portraits  at  all, 
they  are  composite  portraits.  Even  when  it 
seems  pretty  clear  that  the  initial  impulse  to- 
wards the  creation  of  a  particular  character  came 
from  some  individual,  the  original  figure  is  en- 
tirely transmuted  in  the  process  of  harmonisa- 
tion  with  the  dramatic  scheme.  We  need  not, 
therefore,  look  for  a  definite  prototype  of  Hedda ; 
but  Dr.  Brandes  shows  that  two  of  that  lady's 
exploits  were  probably  suggested  by  the  anec- 
dotic history  of  the  day. 

Ibsen  had  no  doubt  heard  how  the  wife  of  a 
well-known  Norwegian  composer,  in  a  fit  of 
raging  jealousy  excited  by  her  husband's  pro- 
longed absence  from  home,  burnt  the  manuscript 
of  a  symphony  which  he  had  just  finished.  The 
circumstances  under  which  Hedda  burns  Lov- 
borg's  manuscript  are,  of  course,  entirely  dif- 
ferent and  infinitely  more  dramatic;  but  here 
we  have  merely  another  instance  of  the  dramati- 
sation or  "  poetisation "  of  the  raw  material  of 
life.  Again,  a  still  more  painful  incident  prob- 

did  not  shoot,  but  poisoned  herself.  Nothing  more  seems  to 
be  known  of  this  lady.  See,  too,  an  article  by  Julias  Elias  in 
the  same  magazine,  p.  1460. 


XIV  HEDDA    GABLER. 


ably  came  to  his  knowledge  about  the  same  time. 
A  beautiful  and  very  intellectual  woman  was 
married  to  a  well-known  man  who  had  been  ad- 
dicted to  drink,  but  had  entirely  conquered  the 
vice.  One  day  a  mad  whim  seized  her  to  put 
his  self-mastery  and  her  power  over  him  to  the 
test.  As  it  happened  to  be  his  birthday,  she 
rolled  into  his  study  a  small  keg  of  brandy,  and 
then  withdrew.  She  returned  some  time  after- 
wards to  find  that  he  had  broached  the  keg,  and 
lay  insensible  on  the  floor.  In  this  anecdote 
we  cannot  but  recognise  the  germ,  not  only  of 
Hedda's  temptation  of  Lovborg,  but  of  a  large 
part  of  her  character. 

"  Thus,"  says  Dr.  Brandes,  "  out  of  small  and 
scattered  traits  of  reality  Ibsen  fashioned  his 
close-knit  and  profoundly  thought-out  works  of 
art." 

For  the  character  of  Eilert  Lovborg,  again, 
Ibsen  seems  unquestionably  to  have  borrowed 
several  traits  from  a  definite  original.  A  young 
Danish  man  of  letters,  whom  Dr.  Brandes  calls 
Holm,  was  an  enthusiastic  admirer  of  Ibsen,  and 
came  to  be  on  very  friendly  terms  with  him. 
One  day  Ibsen  was  astonished  to  receive,  in 
Munich,  a  parcel  addressed  from  Berlin  by  this 
young  man,  containing,  without  a  word  of  ex- 
planation, a  packet  of  his  (Ibsen's)  letters,  and 
a  photograph  which  he  had  presented  to  Holm. 
Ibsen  brooded  and  brooded  over  the  incident,  and 
at  last  came  to  the  conclusion  that  the  young 
man  had  intended  to  return  her  letters  and 
photograph  to  a  young  lady  to  whom  he  was 
known  to  be  attached,  and  had  in  a  fit  of  aber- 
ration mixed  up  the  two  objects  of  his  worship. 


INTRODUCTION.  XV 


Some  time  after,  Holm  appeared  at  Ibsen's 
rooms.  Pie  talked  quite  rationally,  but  professed 
to  have  no  knowledge  whatever  of  the  letter- 
incident,  though  he  admitted  the  truth  of  Ibsen's 
conjecture  that  the  "  belle  dame  sans  merci  "  had 
demanded  the  return  of  her  letters  and  portrait. 
Ibsen  was  determined  to  get  at  the  root  of  the 
mystery;  and  a  little  inquiry  into  his  young 
friend's  habits  revealed  the  fact  that  he  broke 
his  fast  on  a  bottle  of  port  wine,  consumed  a 
bottle  of  Rhine  wine  at  lunch,  of  Burgundy  at 
dinner,  and  finished  off  the  evening  with  one  or 
two  more  bottles  of  port.  Then  he  heard,  too, 
how,  in  the  course  of  a  night's  carouse,  Holm 
had  lost  the  manuscript  of  a  book;  and  in  these 
traits  he  saw  the  outline  of  the  figure  of  Eilert 
Lovborg. 

Some  time  elapsed,  and  again  Ibsen  received  a 
postal  packet  from  Holm.  This  one  contained 
his  will,  in  which  Ibsen  figured  as  his  residuary 
legatee.  But  many  other  legatees  were  men- 
tioned in  the  instrument — all  of  them  ladies, 
such  as  Fraulein  Alma  Rothbart,  of  Bremen, 
and  Fraulein  Elise  Kraushaar,  of  Berlin.  The 
bequests  to  these  meritorious  spinsters  were  so 
generous  that  their  sum  considerably  exceeded 
the  amount  of  the  testator's  property.  Ibsen 
gently  but  firmly  declined  the  proffered  inheri- 
tance; but  Holm's  will  no  doubt  suggested  to 
him  the  figure  of  that  red-haired  "  Mademoiselle 
Diana,"  who  is  heard  of  but  not  seen  in  Hedda 
Gabler,  and  enabled  him  to  add  some  further 
traits  to  the  portraiture  of  Lovborg.  When  the 
play  appeared,  Holm  recognised  himself  with 
glee  in  the  character  of  the  bibulous  man  of  let- 


XVI  HEDDA    GABLER. 


ters,  and  thereafter  adopted  "  Eilert  Lovborg  " 
as  his  pseudonym.  I  do  not,  therefore,  see  why 
Dr.  Brandes  should  suppress  his  real  name;  but 
I  willingly  imitate  him  in  erring  on  the  side  of 
discretion.  The  poor  fellow  died  several  years 
ago. 

Some  critics  have  been  greatly  troubled  as  to 
the  precise  meaning  of  Hedda's  fantastic  vision 
of  Lovborg  "  with  vine-leaves  in  his  hair." 
Surely  this  is  a  very  obvious  image  or  symbol 
of  the  beautiful,  the  ideal,  aspect  of  bacchic 
elation  and  revelry.  Antique  art,  or  I  am  much 
mistaken,  shows  us  many  figures  of  Dionysus 
himself  and  his  followers  with  vine-leaves  en- 
twined in  their  hair.  To  Ibsen's  mind,  at  any 
rate,  the  image  had  long  been  familiar.  In  Peer 
Gynt  (Act  iv.  sc.  8),  when  Peer,  having  carried 
off  Anitra,  finds  himself  in  a  particularly  festive 
mood,  he  cries :  "  Were  there  vine-leaves  around, 
I  would  garland  my  brow."  Again,  in  Emperor 
and  Galilean  (Pt.  ii.  Act  1)  where  Julian,  in  the 
procession  of  Dionysus,  impersonates  the  god 
himself,  it  is  directed  that  he  shall  wear  a  wreath 
of  vine-leaves.  Professor  Dietrichson  relates 
that  among  the  young  artists  whose  society  Ib- 
sen frequented  during  his  first  years  in  Rome, 
it  was  customary,  at  their  little  festivals,  for  the 
revellers  to  deck  themselves  in  this  fashion.  But 
the  image  is  so  obvious  that  there  is  no  need  to 
trace  it  to  any  personal  experience.  The  attempt 
to.  place  Hedda's  vine-leaves  among  Ibsen's  ob- 
scurities is  an  example  of  the  firm  resolution  not 
to  understand  which  animated  the  criticism  of 
the  'nineties. 

Dr.  Braudes  has  dealt  very  severely  with  the 


INTRODUCTION.  XV11 


character  of  Eilert  Lovborg,  alleging  that  we 
cannot  believe  in  the  genius  attributed  to  him. 
But  where  is  he  described  as  a  genius?  The 
poet  represents  him  as  a  very  able  student  of 
sociology;  but  that  is  a  quite  different  thing 
from  attributing  to  him  such  genius  as  must 
necessarily  shine  forth  in  every  word  he  utters. 
Dr.  Brandes,  indeed,  declines  to  believe  even  in 
his  ability  as  a  sociologist,  on  the  ground  that  it 
is  idle  to  write  about  the  social  development  of 
the  future.  "  To  our  prosaic  minds,"t  he  says, 
"  it  may  seem  as  if  the  most  sensible  utterance 
on  the  subject  is  that  of  the  fool  of  the  play: 
'  The  future !  Good  heavens,  we  know  nothing 
of  the  future.'  "  The  best  retort  to  this  criticism 
is  that  which  Eilert  himself  makes :  "  There's  a 
thing  or  two  to  be  said  about  it  all  the  same." 
The  intelligent  forecasting  of  the  future  (as 
Mr.  H.  G.  Wells  has  shown)  is  not  only  clearly 
distinguishable  from  fantastic  Utopianism,  but 
is  indispensable  to  any  large  statesmanship  or 
enlightened  social  activity.  With  very  real  and 
very  great  respect  for  Dr.  Brandes,  I  cannot 
think  that  he  has  been  fortunate  in  his  treat- 
ment of  Lovborg's  character.  It  has  been  repre- 
sented as  an  absurdity  that  he  should  think  of 
reading  abstracts  from  his  new  book  to  a  man 
like  Tesman,  whom  he  despises.  But  though 
Tesman  is  a  ninny,  he  is,  as  Hedda  says,  a  "  spe- 
cialist " — he  is  a  competent,  plodding  student  of 
his  subject.  Lovborg  may  quite  naturally  wish 
to  see  how  his  new  method,  or  his  excursion  into 
a  new  field,  strikes  the  average  scholar  of  the 
Tesman  type.  He  is,  in  fact,  "  trying  it  on  the 
dog" — neither  an  unreasonable  nor  an  unusual 


XV111  HEDDA    GABLER. 


proceeding.  There  is,  no  doubt,  a  certain  im- 
probability in  the  way  in  which  Lovborg  is  rep- 
resented as  carrying  his  manuscript  around,  and 
especially  in  Mrs.  Elvsted's  production  of  his 
rough  draft  from  her  pocket;  but  these  are  me- 
chanical trifles,  on  which  only  a  niggling  criti- 
cism would  dream  of  laying  stress. 

Of  all  Ibsen's  works,  Hedda  Gabler  is  the  most 
detached,  the  most  objective — a  character-study 
pure  and  simple.  It  is  impossible — or  so  it  seems 
to  me — \o  extract  any  sort  of  general  idea  from 
it.  One  cannot  even  call  it  a  satire,  unless  one 
is  prepared  to  apply  that  term  to  the  record  of 
a  "  case  "  in  a  work  on  criminology.  Reverting 
to  Dumas's  dictum  that  a  play  should  contain 
"  a  painting,  a  judgment,  an  ideal,"  we  may  say 
that  Hedda  Gabler  fulfils  only  the  first  of  these 
requirements.  The  poet  does  not  even  pass  judg- 
ment on  his  heroine :  he  simply  paints  her  full- 
length  portrait  with  scientific  impassivity.  But 
what  a  portrait !  How  searching  in  insight,  how 
brilliant  in  colouring,  how  rich  in  detail !  Grant 
Allen's  remark,  above  quoted,  was,  of  course,  a 
whimsical  exaggeration :  the  Hedda  type  is  not 
so  common  as  all  that,  else  the  world  would 
quickly  come  to  an  end.  But  particular  traits 
and  tendencies  of  the  Hedda  type  are  very  com- 
mon in  modern  life,  and  not  only  among  women. 
HyperaBSthesia  lies  at  the  root  of  her  tragedy. 
With  a  keenly  critical,  relentlessly  solvent  intel- 
ligence, she  combines  a  morbid  shrinking  from 
all  the  gross  and  prosaic  detail  of  the  sensual 
life.  She  has  nothing  to  take  her  out  of  her- 
self— not  a  single  intellectual  interest  or  moral 
enthusiasm.  She  cherishes,  in  a  languid  way,  a 


INTRODUCTION.  XIX 


petty  social  ambition ;  and  even  that  she  finds 
obstructed  and  baffled.  At  the  same  time  she 
learns  that  another  woman  has  had  the  courage 
to  love  and  venture  all,  where  she,  in  her  cow- 
ardice, only  hankered  and  refrained.  Her  malign 
egoism  rises  up  uncontrolled,  and  calls  to  its  aid 
her  quick  and  subtle  intellect.  She  ruins  the 
other  woman's  happiness,  but  in  doing  so  incurs 
a  danger  from  which  her  sense  of  personal  dig- 
nity revolts.  Life  has  no  such  charm  for  her 
that  she  cares  to  purchase  it  at  the  cost  of 
squalid  humiliation  and  self -contempt.  The  good 
and  the  bad  in  her  alike  impel  her  to  have  done 
with  it  all;  and  a  pistol-shot  ends  what  is  surely 
one  of  the  most  poignant  character-tragedies  in 
literature.  Ibsen's  brain  never  worked  at  higher 
pressure  than  in  the  conception  and  adjustment 
of  those  "  crowded  hours  "  in  which  Hedda,  tan- 
gled in  the  web  of  Will  and  Circumstance,  strug- 
gles on  till  she  is  too  weary  to  struggle  any  more. 
It  may  not  be  superfluous  to  note  that  the 
"  a  "  in  "  Gabler  "  should  be  sounded  long  and 
full,  like  the  "a"  in  "  garden  "—no  i  like  the 
"a"  in  "gable"  or  in  "gabble." 

W.  A. 


THE   MASTER   BUILDER. 


INTRODUCTION* 

WITH  The  Master  Builder — or  Master  Builder 
Solness,  as  the  title  runs  in  the  original — we 
enter  upon  the  final  stage  in  Ibsen's  career. 
"  You  are  essentially  right,"  the  poet  wrote  to 
Count  Prozor  in  March  1900,  "  when  you  say 
that  the  series  which  closes  with  the  Epilogue 
(When  We  Dead  Awaken)  began  with  Master 
Builder  Solness." 

"  Ibsen,"  says  Dr.  Brahm,  "  wrote  in  Chris- 
tiania  all  the  four  works  which  he  thus  seems 
to  bracket  together — Solness,  Eyolf,  Borkman, 
and  When  We  Dead  Awaken.  He  returned  to 
Norway  in  July  1891,  for  a  stay  of  indefinite 
length;  but  the  restless  wanderer  over  Europe 
was  destined  to  leave  his  home  no  more.  .  .  .  He 
had  not  returned,  however,  to  throw  himself, 
as  of  old,  into  the  battle  of  the  passing  day. 
Polemics  are  entirely  absent  from  the  poetry  of 
his  old  age.  He  leaves  the  State  and  Society 
at  peace.  He  who  had  departed  as  the  creator 
of  Falk  [in  Love's  Comedy]  now,  on  his  return, 
gazes,  not  satirically,  but  rather  in  a  lyric  mood, 
into  the  secret  places  of  human  nature  and  the 
wonders  of  his  own  soul." 

*  Copyright,  1907,  by  Charles  Scribner's  Sons. 

xxi 


XX11  THE    MASTER    BUILDER. 


Dr.  Brahm,  however,  seems  to  be  mistaken  in 
thinking  that  Ibsen  returned  to  Norway  with  no 
definite  intention  of  settling  down.  Dr.  Julius 
Elias  (an  excellent  authority)  reports  that  short- 
ly before  Ibsen  left  Munich  in  1891,  he  remarked 
one  day,  "  I  must  get  back  to  the  North !  "  "  Is 
that  a  sudden  impulse  ? "  asked  Elias.  "  Oh  no," 
was  the  reply;  "I  want  to  be  a  good  head  of  a 
household  and  have  my  affairs  in  order.  To  that 
end  I  must  consolidate  my  property,  lay  it  down 
in  good  securities,  and  get  it  under  control — 
and  that  one  can  best  do  where  one  has  rights 
of  citizenship."  Some  critics  will  no  doubt  be 
shocked  to  find  the  poet  whom  they  have  written 
down  an  "  anarchist "  confessing  such  bourgeois 
motives. 

After  his  return  to  Norway,  Ibsen's  corre- 
spondence became  very  scant,  and  we  have  no 
letters  dating  from  the  period  when  he  was  at 
work  on  The  Master  Builder.  On  the  other 
hand,  we  possess  a  curious  lyrical  prelude  to  the 
play,  which  he  put  on  paper  on  March  16,  1892. 
It  is  said  to  have  been  his  habit,  before  setting 
to  work  on  a  play,  to  "  crystallise  in  a  poem  the 
mood  which  then  possessed  him ;  "  but  the  fol- 
lowing is  the  only  one  of  these  keynote  poems 
which  has  been  published.  I  give  it  in  the 
original  language,  with  a  literal  translation: 

DE  SAD  DER,  DE  TO— 

De  sad  der,  de  to,  i  saa  lunt  et  bus 
ved  h6st  og  i  vinterdage, 
Saa  braandte  huset.     Alt  ligger  i  grus. 
De  to  faar  i  asken  rage. 

For  nede  i  den  er  et  smykke  gemt, — 
et  smykke,  eom  aldrig  kan  braende. 


INTRODUCTION.  XX111 


Og  leder  de  trofast,  haender  det  nemt 
at  det  findes  af  ham.  eller  hende. 

Men  finder  de  end,  de  brandlidte  to, 
det  dyre,  ildfaste  smykke, — 
aldrig  h  n  finder  sin  braendte  tro, 
ban  aldrig  sin  braendte  lykke. 


THEY  SAT  THERE,  THE  TWO— 

They  sat  there,  the  two,  in  so  cosy  a  house,  through  autumn 
and  winter  days.  Then  the  house  burned  down.  Everything 
lies  in  ruins.  The  two  must  grope  among  the  ashes. 

For  among  them  is  hidden  a  jewel — a  jewel  that  never  can 
burn.  And  if  they  search  faithfully,  it  may  easily  happen 
that  he  or  she  may  find  it. 

But  even  should  they  find  it,  the  burnt-out  two — find  this 
precious  unburnable  jewel — never  will  she  find  her  burnt 
faith,  h  e  never  his  burnt  happiness. 

This  is  the  latest  piece  of  Ibsen's  verse  that  has 
been  given  to  the  world;  but  one  of  his  earliest 
poems — first  printed  in  1858 — was  also,  in  some 
sort,  a  prelude  to  The  Master  Builder.  Of  this 
a  literal  translation  may  suffice.  It  is  called 


BUILDING-PLANS 

I  remember  as  clearly  as  if  it  had  been  to-day  the  evening 
when,  in  the  paper,  I  saw  my  first  poem  in  print.  There  I 
sat  in  my  den,  and,  with  long-drawn  puffs,  I  smoked  and  I 
dreamed  in  blissful  self-complacency. 

"I  will  build  a  cloud-castle.  It  shall  shine  all  over  the 
North.  It  shall  have  two  wings  :  one  little  and  one  great. 
The  great  wing  shall  shelter  a  deathless  poet ;  the  little  wing 
shall  serve  as  a  young  girl's  bower." 

The  plan  seemed  to  me  nobly  harmonious ;  but  as  time  went 
on  it  fell  into  confusion.  When  the  master  grew  reasonable, 
the  castle  turned  utterly  crazy;  the  great  wing  became  too 
little,  the  little  wing  fell  to  ruin. 

Thus   we   see   that,  thirty-five   years   before   the 
date  of  The  Master  Builder,  Ibsen's  imagination 


XXIV  THE    MASTER    BUILDER. 


was  preoccupied  with  a  symbol  of  a  master  build- 
ing a  castle  in  the  air,  and  a  young  girl  in  one 
of  its  towers. 

There  has  been  some  competition  among  the 
poet's  young  lady  friends  for  the  honour  of  hav- 
ing served  as  his  model  for  Hilda.  Several,  no 
doubt,  are  entitled  to  some  share  in  it.  One  is 
not  surprised  to  learn  that  among  the  papers  he 
left  behind  were  sheaves  upon  sheaves  of  letters 
from  women.  "  All  these  ladies,"  says  Dr.  Julius 
Elias,  "  demanded  something  of  him — some  cure 
for  their  agonies  of  soul,  or  for  the  incompre- 
hension from  which  they  suffered;  some  solution 
of  the  riddle  of  their  nature.  Almost  every  one 
of  them  regarded  herself  as  a  problem  to  which 
Ibsen  could  not  but  have  the  time  and  the  in- 
terest to  apply  himself.  They  all  thought  they 
had  a  claim  on  the  creator  of  Nora.  ...  Of  this 
chapter  of  his  experience,  Fru  Ibsen  spoke  with 
ironic  humour.  '  Ibsen  (I  have  often  said  to 
him),  Ibsen,  keep  these  swarms  of  over-strained 
womenfolk  at  arm's  length.'  '  Oh  no  (he  would 
reply),  let  them  alone.  I  want  to  observe  them 
more  closely.'  His  observations  would  take  a 
longer  or  shorter  time  as  the  case  might  be,  and 
would  always  contribute  to  some  work  of  art." 

The  principal  model  for  Hilda  was  doubtless 
Fraulein  Emilie  Bardach,  of  Vienna,  whom  he 
met  at  Gossensass  in  the  autumn  of  1889.  He 
was  then  sixty-one  years  of  age;  she  is  said  to 
have  been  seventeen.  As  the  lady  herself  handed 
his  letters  to  Dr.  Brandes  for  publication,  there 
can  be  no  indiscretion  in  speaking  of  them  freely. 
Some  passages  from  them  I  have  quoted  in  the 
introduction  to  Hedda  Gabler — passages  which 


INTRODUCTION.  XXV 


show  that  at  first  the  poet  deliberately  put  aside 
his  Gossensass  impressions  for  use  when  he 
should  stand  at  a  greater  distance  from  them, 
and  meanwhile  devoted  himself  to  work  in  a 
totally  different  key.  On  October  15,  1889,  he 
writes,  in  his  second  letter  to  Fraulein  Bardach: 
"  I  cannot  repress  my  summer  memories,  nor  do 
I  want  to.  I  live  through  my  experiences  again 
and  again,  and  yet  again.  To  transmute  it  all 
into  a  poem  I  find,  in  the  meantime,  impossible. 
In  the  meantime?  Shall  I  succeed  in  doing  so 
some  time  in  the  future?  And  do  I  really  wish 
to  succeed?  In  the  meantime,  at  any  rate,  I  do 
not.  .  .  .  And  yet  it  must  come  in  time."  The 
letters  number  twelve  in  all,  and  are  couched  in 
a  tone  of  sentimental  regret  for  the  brief,  bright 
summer  days  of  their  acquaintanceship.  The 
keynote  is  struck  in  the  inscription  on  the  back 
of  a  photograph  which  he  gave  her  before  they 
parted:  An  die  Maisonne  eines  Septemberlebens 
—in  Tirol,1  27/9/89.  In  her  album  he  had 
written  the  words: 

Hohes,  schmerzliches  Gliick — 
um  das  Unerreichbare  zu  ringen  !  * 

in  which  we  may,  if  we  like,  see  a  foreshadowing 
of  the  Solness  frame  of  mind.  In  the  fifth  let- 
ter of  the  series  he  refers  to  her  as  "  an  enig- 
matic Princess  " ;  in  the  sixth  he  twice  calls  her 
"  my  dear  Princess  " ;  but  this  is  the  only  point 
at  which  the  letters  quite  definitely  and  unmis- 
takably point  forward  to  The  Master  Builder. 

1  "To  the  May-sun  of  a  September  life — in  Tyrol." 

2  "  High,  painful  happiness — to  struggle  for  the  unattain- 
able ! " 


XXVI  THE    MASTER    BUILDER. 


In  the  ninth  letter  (February  6,  1890)  he  says: 
"  I  feel  it  a  matter  of  conscience  to  end,  or  at 
any  rate,  to  restrict,  our  correspondence."  The 
tenth  letter,  six  months  later,  is  one  of  kindly 
condolence  on  the  death  of  the  young  lady's 
father.  In  the  eleventh  (very  short)  note,  dated 
December  30,  1890,  he  acknowledges  some  small 
gift,  but  says :  "  Please,  for  the  present,  do  not 
write  to  me  again.  ...  I  will  soon  send  you  my 
new  play  \Hedda,  Gabler].  Receive  it  in  friend- 
ship, but  in  silence !  "  This  injunction  she  ap- 
parently obeyed.  When  The  Master  Builder 
appeared,  it  would  seem  that  Ibsen  did  not  even 
send  her  a  copy  of  the  play;  and  we  gather  that 
he  was  rather  annoyed  when  she  sent  him  a 
photograph  signed  "  Princess  of  Orangia."  On 
his  seventieth  birthday,  however,  she  telegraphed 
her  congratulations,  to  which  he  returned  a  very 
cordial  reply.  And  here  their  relations  ended. 

That  she  was  right,  however,  in  regarding  her- 
self as  his  principal  model  for  Hilda  appears 
from  an  anecdote  related  by  Dr.  Elias.1  It  is 
not  an  altogether  pleasing  anecdote,  but  Dr. 
Elias  is  an  unexceptionable  witness,  and  it  can 
by  no  means  be  omitted  from  an  examination 
into  the  origins  of  The  Master  Builder.  Ibsen 
had  come  to  Berlin  in  February  1891  for  the 
first  performance  of  Hedda  Gabler.  Such  expe- 
riences were  always  a  trial  to  him,  and  he  felt 
greatly  relieved  when  they  were  over.  Packing, 
too,  he  detested;  and  Elias  having  helped  him 
through  this  terrible  ordeal,  the  two  sat  down  to 
lunch  together,  while  awaiting  the  train.  An 
expansive  mood  descended  upon  Ibsen,  and  chuc- 
1  Neue  deutsche  Rundschau,  December,  1906,  p.  1462. 


INTRODUCTION.  XXV11 


kling  over  his  champagne  glass,  he  said :  "  Do 
you  know,  my  next  play  is  already  hovering 
before  me — of  course  in  vague  outline.  But  of 
one  thing  I  have  got  firm  hold.  An  experience: 
a  woman's  figure.  Very  interesting,  very  inter- 
esting indeed.  Again  a  spice  of  devilry  in  it." 
Then  he  related  how  he  had  met  in  the  Tyrol  a 
Viennese  girl  of  very  remarkable  character.  She 
had  at  once  made  him  her  confidant.  The  gist 
of  her  confessions  was  that  she  did  not  care  a 
bit  about  one  day  marrying  a  well  brought-up 
young  man — most  likely  she  would  never  marry. 
What  tempted  and  charmed  and  delighted  her 
was  to  lure  other  women's  husbands  away  from 
them.  She  was  a  little  daemonic  wrecker;  she 
often  appeared  to  him  like  a  little  bird  of  prey, 
that  would  fain  have  made  him,  too,  her  booty. 
He  had  studied  her  very,  very  closely.  For  the 
rest,  she  had  had  no  great  success  with  him. 
"  She  did  not  get  hold  of  me,  but  I  got  hold  of 
her — for  my  play.  Then  I  fancy "  (here  he 
chuckled  again)  "  she  consoled  herself  with  some 
one  else."  Love  seemed  to  mean  for  her  only  a 
sort  of  morbid  imagination.  This,  however,  was 
only  one  side  of  her  nature.  His  little  model 
had  had  a  great  deal  of  heart  and  of  womanly 
understanding;  and  thanks  to  the  spontaneous 
power  she  could  gain  over  him,  every  woman 
might,  if  she  wished  it,  guide  some  man  towards 
the  good.  "  Thus  Ibsen  spoke,"  says  Elias, 
"  calmly  and  coolly,  gazing  as  it  were  into  the 
far  distance,  like  an  artist  taking  an  objective 
view  of  some  experience — like  Lubek  speaking 
of  his  soul-thefts.  He  had  stolen  a  soul,  and  put 
it  to  a  double  employment.  Thea  Elvsted  and 


XXV111  THE    MASTER    BUILDER. 


Hilda  Wangel  are  intimately  related — are,  in- 
deed, only  different  expressions  of  the  same  na- 
ture." If  Ibsen  actually  declared  Thea  and 
Hilda  to  be  drawn  from  one  model,  we  must  of 
course  take  his  word  for  it;  but  the  relationship 
is  hard  to  discern. 

There  can  be  no  reasonable  doubt,  then,  that 
the  Gossensass  episode  gave  the  primary  impulse 
to  The  Master  Builder.  But  it  seems  pretty 
well  established,  too,  that  another  lady,  whom  he 
met  in  Christiania  after  his  return  in  1891,  also 
contributed  largely  to  the  character  of  Hilda. 
This  may  have  been  the  reason  why  he  resented 
Fraulein  Bardach's  appropriating  to  herself  the 
title  of  "  Princess  of  Orangia." 

The  play  was  published  in  the  middle  of  De- 
cember 1892.  It  was  acted  both  in  Germany  and 
England  before  it  was  seen  in  the  Scandinavian 
capitals.  Its  first  performance  took  place  at  the 
Leasing  Theatre,  Berlin,  January  19,  1893,  with 
Emanuel  Reicher  as  Solness  and  Frl.  Reisen- 
hofer  as  Hilda.  In  London  it  was  first  performed 
at  the  Trafalgar  Square  Theatre  (now  the  Duke 
of  York's)  on  February  20,  1893,  under  the  di- 
rection of  Mr.  Herbert  Waring  and  Miss  Eliza- 
beth Robins,  who  played  Solness  and  Hilda. 
This  was  one  of  the  most  brilliant  and  success- 
ful of  English  Ibsen  productions.  Miss  Robins 
was  almost  an  ideal  Hilda,  and  Mr.  Waring's 
Solness  was  exceedingly  able.  Some  thirty  per- 
formances were  given  in  all,  and  the  play  was 
reproduced  at  the  Opera  Comique  later  in  the 
season,  with  Mr.  Lewis  Waller  as  Solness.  In 
the  following  year  Miss  Robins  acted  Hilda  in 
Manchester.  In  Christiania  and  Copenhagen  the 


INTRODUCTION.  XXIX 


play  was  produced  on  the  same  evening,  March 
8,  1893;  the  Copenhagen  Solness  and  Hilda  were 
Emil  Poulsen  and  Fru  Hennings.  A  Swedish 
production,  by  Lindberg,  soon  followed,  both  in 
Stockholm  and  Gothenburg.  In  Paris  Solness  le 
constructeur  was  not  seen  until  April  3,  1894, 
when  it  was  produced  by  "  L'CEuvre "  with  M. 
Lugne-Poe  as  Solness.  This  company,  sometimes 
with  Mme.  Suzanne  Despres  and  sometimes  with 
Mme.  Berthe  Bady  as  Hilda,  in  1894  and  1895 
presented  the  play  in  London,  Brussels,  Amster- 
dam, Milan,  and  other  cities.  In  October  1894 
they  visited  Christiania,  where  Ibsen  was  present 
at  one  of  their  performances,  and  is  reported  by 
Herman  Bang  to  have  been  so  enraptured  with 
it  that  he  exclaimed,  "  This  is  the  resurrection 
of  my  play !  "  On  this  occasion  Mme.  Bady  was 
the  Hilda.  The  first  performance  of  the  play  in 
America  took  place  at  the  Carnegie  Lyceum, 
New  York,  on  January  16,  1900,  with  Mr.  Will- 
iam H.  Pascoe  as  Solness  and  Miss  Florence 
Kahn  as  Hilda.  The  performance  was  repeated 
in  the  course  of  the  same  month,  both  at  Wash- 
ington and  Boston. 

In  England,  and  probably  elsewhere  as  well, 
The  Master  Builder  produced  a  curious  double 
effect.  It  alienated  many  of  the  poet's  staunch- 
est  admirers,  and  it  powerfully  attracted  many 
people  who  had  hitherto  been  hostile  to  him. 
Looking  back,  it  is  easy  to  see  why  this  should 
have  been  so ;  for  here  was  certainly  a  new  thing 
in  drama,  which  could  not  but  set  up  many  novel 
reactions.  A  greater  contrast  could  scarcely  be 
imagined  than  that  between  the  hard,  cold,  pre- 
cise outlines  of  Hedda  Gabler  and  the  vague 


XXX  THE    MASTER    BUILDER. 


mysterious  atmosphere  of  The  Master  Builder, 
in  which,  though  the  dialogue  is  sternly  re- 
strained within  the  limits  of  prose,  the  art  of 
drama  seems  for  ever  on  the  point  of  floating 
away  to  blend  with  the  art  of  music.  Substan- 
tially, the  play  is  one  long  dialogue  between  Sol- 
ness  and  Hilda;  and  it  would  be  quite  possible 
to  analyse  this  dialogue  in  terms  of  music,  not- 
ing (for  example)  the  announcement  first  of  this 
theme  and  then  of  that,  the  resumption  and  re- 
inforcement of  a  theme  which  seemed  to  have 
been  dropped,  the  contrapuntal  interweaving1  of 
two  or  more  motives,  a  scherzo  here,  a  fugal  pas- 
sage there.  Leaving  this  exercise  to  some  one 
more  skilled  in  music  (or  less  unskilled)  than 
myself,  I  may  note  that  in  The  Master  Builder 
Ibsen  resumes  his  favourite  retrospective  method, 
from  which  in  Hedda  Gabler  he  had  in  great 
measure  departed.  But  the  retrospect  with  which 
we  are  here  concerned  is  purely  psychological. 
The  external  events  involved  in  it  are  few  and 
simple  in  comparison  with  the  external  events 
which  are  successively  unveiled  in  the  retrospec- 
tive passages  of  The  Wild  Duck  or  Rosmersholm. 
The  matter  of  the  play  is  the  soul-history  of 
Halvard  Solness,  recounted  to  an  impassioned 
listener — so  impassioned,  indeed,  that  the  soul- 
changes  it  begets  in  her  form  an  absorbing  and 
thrilling  drama.  The  graduations,  retardations, 
accelerations  of  Solness's  self-revealment  are 
managed  with  the  subtlest  art,  so  as  to  keep  the 
interest  of  the  spectator  ever  on  the  stretch. 
The  technical  method  was  not  new;  it  was  sim- 
ply that  which  Ibsen  had  been  perfecting  from 
Pillars  of  Society  onward;  but  it  was  applied  to 


INTRODUCTION.  XXXI 


a  subject  of  a  nature  not  only  new  to  him,  but 
new  to  literature. 

That  the  play  is  full  of  symbolism  it  would 
be  futile  to  deny;  and  the  symbolism  is  mainly 
autobiographic.  The  churches  which  Solness 
sets  out  by  building  doubtless  represent  Ibsen's 
early  romantic  plays,  the  "  homes  for  human 
beings  "  his  social  dramas ;  while  the  houses  with 
high  towers,  merging  into  "  castles  in  the  air," 
stand  for  those  spiritual  dramas,  with  a  wide 
outlook  over  the  metaphysical  environment  of 
humanity,  on  which  he  was  henceforth  to  be  en- 
gaged. Perhaps  it  is  not  altogether  fanciful  to 
read  a  personal  reference  into  Solness's  refusal 
to  call  himself  an  architect,  on  the  ground  that 
his  training  has  not  been  systematic — that  he  is 
a  self-taught  man.  Ibsen  too  was  in  all  essen- 
tials self-taught;  his  philosophy  was  entirely 
unsystematic;  and,  like  Solness,  he  was  no  stu- 
dent of  books.  There  may  be  an  introspective 
note  also  in  that  dread  of  the  younger  genera- 
tion to  which  Solness  confesses.  It  is  certain 
that  the  old  Master-Builder  was  not  lavish  of 
his  certificates  of  competence  to  young  aspirants, 
though  there  is  nothing  to  show  that  his  reti- 
cence ever  depressed  or  quenched  any  rising 
genius. 

On  the  whole,  then,  it  cannot  be  doubted  that 
several  symbolic  motives  are  inwoven  into  the 
iridescent  fabric  of  the  play.  But  it  is  a  great 
mistake  to  regard  it  as  essentially  and  insepa- 
rably a  piece  of  symbolism.  Essentially  it  is 
history  of  a  sickly  conscience,  worked  out  in 
terms  of  pure  psychology.  Or  rather,  it  is  a 
study  of  a  sickly  and  a  robust  conscience  side 


XXX11  THE    MASTER    BUILDER. 


by  side.  "  The  conscience  is  very  conservative," 
Ibsen  has  somewhere  said;  and  here  Solness's 
conservatism  is  contrasted  with  Hilda's  radical- 
ism— or  rather  would-be  radicalism,  for  we  are 
led  to  suspect,  towards  the  close,  that  the  radical 
too  is  a  conservative  in  spite  of  herself.  The 
fact  that  Solness  cannot  climb  as  high  as  he 
builds  implies,  I  take  it,  that  he  cannot  act  as 
freely  as  he  thinks,  or  as  Hilda  would  goad  him 
into  thinking.  At  such  an  altitude  his  con- 
science would  turn  dizzy,  and  life  would  become 
impossible  to  him.  But  here  I  am  straying  back 
to  the  interpretation  of  symbols.  My  present 
purpose  is  to  insist  that  there  is  nothing  in  the 
play  which  has  no  meaning  on  the  natural- 
psychological  plane,  and  absolutely  requires  a 
symbolic  interpretation  to  make  it  comprehen- 
sible. The  symbols  are  harmonic  undertones; 
the  psychological  melody  is  clear  and  consistent 
without  any  reference  to  them.1  It  is  true  that, 
in  order  to  accept  the  action  on  what  we  may 
call  the  realistic  level,  we  must  suppose  Solness 
to  possess  and  to  exercise,  sometimes  in  spite  of 
himself,  and  sometimes  unconsciously,  a  consid- 
erable measure  of  hypnotic  power.  But  the  time 
is  surely  past  when  we  could  reckon  hypnotism 
among  "  supernatural "  phenomena.  Whether 

1  This  conception  I  have  worked  out  at  much  greater  length  in 
an  essay,  entitled  The  Melody  of  the  Master  Builder,  appended 
to  the  shilling  edition  of  the  play,  published  in  1893.  I  there 
retell  the  story,  transplanting  it  to  England  and  making  the 
hero  a  journalist  instead  of  an  architect,  in  order  to  show 
that  (it  we  grant  the  reality  of  certain  commonly-accepted 
phenomena  of  hypnotism)  there  is  nothing  incredible  or  even 
extravagantly  improbable  about  it.  The  argument  is  far  too 
long  to  be  included  here,  but  the  reader  who  ia  interested  in 
the  subject  may  find  it  worth  referring  to. 


INTRODUCTION.  XXX111 


the  particular  forms  of  hypnotic  influence  at- 
tributed to  Solness  do  actually  exist  is  a  question 
we  need  not  determine.  The  poet  does  not  de- 
mand our  absolute  credence,  as  though  he  were 
giving  evidence  in  the  witness-box.  What  he 
requires  is  our  imaginative  acceptance  of  cer- 
tain incidents  which  he  purposely  leaves  hover- 
ing on  the  border  between  the  natural  and  the 
preternatural,  the  explained  and  the  unexplained. 
In  this  play,  as  in  The  Lady  from  the  Sea  and 
Little  Eyolf,  he  shows  a  delicacy  of  art  in  his 
dalliance  with  the  occult  which  irresistibly  re- 
calls the  exquisite  genius  of  Nathaniel  Haw- 
jthorne.1 

"'  The  critics  who  insist  on  finding  nothing  but 
symbolism  in  the  play  have  fastened  on  Mrs. 
Solness's  "  nine  lovely  dolls,"  and  provided  the 
most  amazing  interpretations  for  them.  A  letter 
which  I  contributed  in  1893  to  the  Westminster 
Gazette  records  an  incident  which  throws  a  curi- 
ous light  on  the  subject,  and  may  be  worth  pre- 
serving. "  At  a  recent  first  night,"  I  wrote,  "  I 
happened  to  be  seated  just  behind  a  well-known 
critic.  He  turned  round  to  me  and  said,  '  I 
want  you  to  tell  me  what  is  your  theory  of  those 
"  nine  lovely  dolls."  Of  course  one  can  see  that 
they  are  entirely  symbolical.'  '  I  am  not  so  sure 
of  that,'  I  replied,  remembering  a  Norwegian 
cousin  of  my  own  who  treasured  a  favourite  doll 
until  she  was  nearer  thirty  than  twenty.  '  They 
of  course  symbolise  the  unsatisfied  passion  of 
motherhood  in  Mrs.  Solness's  heart,  but  I  have 

1  For  an  instance  of  the  technical  methods  by  which  he 
suggested  the  supernormal  element  in  the  atmosphere  of  the 
play,  see  Introduction  to  A  DolVs  House,  p.  xiv. 


XXXIV  THE    MASTER    BUILDER. 


very  little  doubt  that  Ibsen  makes  use  of  this 
"  symbol  "  because  he  has  observed  a  similar  case, 
or  cases,  in  real  life.'  '  What ! '  cried  the  critic. 
'  He  has  seen  a  grown-up,  a  middle-aged,  woman 
continuing  to  "  live  with  "  her  dolls ! '  I  was 
about  to  say  that  it  did  not  seem  to  me  so  very 
improbable,  when  a  lady  who  was  seated  next  me, 
a  total  stranger  to  both  of  us,  leant  forward  and 
said,  '  Excuse  my  interrupting  you,  but  it  may 
perhaps  interest  you  to  know  that  I  have  three 
dolls  to  which  I  am  deeply  attached!'  I  will 
not  be  so  rude  as  to  conjecture  this  lady's  age,  but 
we  may  be  sure  that  a  very  young  woman  would 
not  have  had  the  courage  to  make  such  an 
avowal.  Does  it  not  seem  that  Ibsen  knows  a 
thing  or  two  about  human  nature — English  as 
well  as  Norwegian — which  we  dramatic  critics, 
though  bound  by  our  calling  to  be  subtle  psychol- 
ogists, have  not  yet  fathomed  ? "  In  the  course 
of  the  correspondence  which  followed,  one  very 
apposite  anecdote  was  quoted  from  an  American 
paper,  the  Argonaut:  "An  old  Virginia  lady 
said  to  a  friend,  on  finding  a  treasured  old  cup 
cracked  by  a  careless  maid,  '  I  know  of  nothing 
to  compare  with  the  affliction  of  losing  a  hand- 
some piece  of  old  china.'  '  Surely,'  said  the 
friend,  '  it  is  not  so  bad  as  losing  one's  children.' 
'  Yes,  it  is,'  replied  the  old  lady,  '  for  when  your 
children  die,  you  do  have  the  consolations  of 
religion,  you  know.'" 

It  would  be  a  paradox  to  call  The  Master 
Builder  Ibsen's  greatest  work,  but  one  of  his 
three  or  four  greatest  it  assuredly  is.  Of  all  his 
writings,  it  is  probably  the  most  original,  the 
most  individual,  the  most  unlike  any  other 


INTRODUCTION.  XXXV 


drama  by  any  other  writer.  The  form  of  Brand 
and  Peer  Gynt  was  doubtless  suggested  by  other 
dramatic  poems  —  notably  by  Faust.  In  The 
Wild  Duck,  in  Rosmersholm,  in  Hedda  Gabler, 
even  in  Little  Eyolf  and  John  Gabriel  BorTcman, 
there  remain  faint  traces  of  the  French  leaven 
which  was  so  strong  in  the  earlier  plays.  But 
The  Master  Builder  had  no  model  and  has  no 
parallel.  It  shows  no  slightest  vestige  of  outside 
influence.  It  is  Ibsen,  and  nothing  but  Ibsen. 

W.  A. 


HEDDA   GABLER 

(1890) 


VOL.  X. 


CHARACTERS. 


GEORGE 

HEDDA  TESMAN,  his  wife. 

Miss  JULIANA  TESMAN,  his  aunt. 

MRS.  ELVSTED. 

JUDGE2  BRACK. 

ElLERT  LOVBORG. 

BERTA,  servant  at  the  Tesmans. 

The  scene  of  the  action  is  Tesmari's  vitta,  in  the  west  end 
of  Christiania.. 

1  Tesman,  whose  Christian  name  in  the  original  is  "  Jbrgen," 
is  described  as  "stipendiat  i  kulturhistorie  "  —  that  is  to  say,  the 
holrler  of  a  scholarship  for  purposes  of  research  into  the  History 
of  Civilisation. 

1  In  the  original  '  '  Assessor." 


HEDDA   GABLER. 

PLAY  IN  FOUR  ACTS. 


ACT  FIRST. 

A  spacious,  handsome,  and  tastefully  furnished  draw- 
ing-room, decorated  in  dark  colours.  In  the  back, 
a  wide  doorway  with  curtains  drawn  back,  leading 
into  a  smaller  room  decorated  in  the  same  style  as 
the  drawing-room.  In  the  right-hand  wall  of  the 
front  room,  a  folding  door  leading  out  to  the  hall. 
In  the  opposite  wall,  on  the  left,  a  glass  door, 
also  with  curtains  drawn  back.  Through  the 
panes  can  be  seen  part  of  a  veranda  outside,  and 
trees  covered  with  autumn  foliage.  An  oval  table, 
with  a  cover  on  it,  and  surrounded  by  chairs, 
stands  well  forward.  In  front,  by  the  wall  on 
the  right,  a  wide  stove  of  dark  porcelain,  a  high- 
backed  arm-chair,  a  cushioned  foot-rest,  and  two 
footstools.  A  settee,  with  a  small  round  table  in 
front  of  it,  Jills  the  tipper  right-hand  corner.  In 
front,  on  the  left,  a  little  way  from  the  wall,  a 
sofa.  Further  back  than  the  glass  door,  a  piano. 
On  either  side  of  the  doorway  at  the  back  a  what- 
not with  terra-cotta  and  majolica  ornaments. — 
Against  the  back  wall  of  the  inner  room  a  so  fa,  with 


4  HEDDA    GABLER.  [ACT   I. 

a  table,  and  one  or  two  chairs.  Over  the  sofa 
hangs  the  portrait  of  a  handsome  elderly  man  in 
a  General's  uniform.  Over  the  table  a  hanging 
lamp,  with  an  opal  glass  shade. — A  number  of 
bouquets  are  arranged  about  the  drawing-room,  in 
vases  and  glasses.  Others  lie  upon  the  tables. 
The  floors  in  both  rooms  are  covered  with  thick 
carpets. — Morning  light.  The  sun  shines  in 
through  the  glass  door. 

Miss  JULIANA  TESMAN,  with  her  bonnet  on  andcarn/- 
ing  a  parasol,  comes  in  from  the  half,  follon-cd 
by  BERTA,  who  carries  a  bouquet  wrapped  in 
paper.  Miss  TESMAN  is  a  comely  and  pleasant- 
looking  lady  of  about  sixty-Jive.  She  is  nicely 
but  simply  dressed  in  a  grey  walking-costume. 
BERTA  is  a  middle  aged  woman  of  plain  and 
rather  countrified  appearance. 

Miss  TESMAN. 

[Stops  close  to  the  door,  listens,  and  says  softly  :] 
Upon  my  word,  I  don't  believe  they  are  stirring 
yet! 

BERTA. 

[Also  softlyJ]  I  told  you  so,  Miss.  Remember 
how  late  the  steamboat  got  in  last  night.  And 
then,  when  they  got  home  ! — good  Lord,  what  a 
lot  the  young  mistress  had  to  unpack  before  she 
could  get  to  bed. 

Miss  TESMAN. 

Well  well — let  them  have  their  sleep  out.  But 
let  us  see  that  they  get  a  good  breath  of  the  fresh 
morning  air  when  they  do  appear. 

[She  goes  to  the  glass  door  and  throws  it 
open. 


ACT  I.]  HEDDA   GABLER.  5 

BERTA. 

[Beside  the  table,  at  a  loss  what  to  do  with  the  bouquet 
in  her  hand.]  1  declare  there  isn't  a  bit  of  room 
left.  I  think  I'll  put  it  down  here,  Miss. 

[She  places  it  on  the  piano. 

Miss  TESMAN. 

So  you've  got  a  new  mistress  now,  my  dear 
Berta.  Heaven  knows  it  was  a  wrench  to  me  to 
part  with  you. 

BERTA. 

[Ore  the  point  of  weeping.]  And  do  you  think 
it  wasn't  hard  for  me  too,  Miss  ?  After  all  the 
blessed  years  I've  been  with  you  and  Miss  Rina.1 

Miss  TESMAN. 

We  must  make  the  best  of  it,  Berta.  There  was 
nothing  else  to  be  done.  George  can't  do  with- 
out you,  you  see — he  absolutely  can't.  He  has 
had  you  to  look  after  him  ever  since  he  was  a  little 
boy. 

BERTA. 

Ah  but,  Miss  Julia,  I  can't  help  thinking  of 
Miss  Rina  lying  helpless  at  home  there,  poor  thing. 
And  with  only  that  new  girl  too  !  She'll  never 
learn  to  take  proper  care  of  an  invalid. 

Miss  TESMAN. 

Oh,  I  shall  manage  to  train  her.  And  of  course 
you  know,  I  shall  take  most  of  it  upon  myself- 
You  needn't  be  uneasy  about  my  poor  sister,  my 
dear  Berta. 

1  Pronounce  Reena. 


HEDDA     GABLER.  ACT    I- 


BERTA. 

Well,  but  there's  another  thing,  Miss.  I'm  so 
mortally  afraid  I  shan't  be  able  to  suit  the  young 
mistress. 

Miss  TESMAN. 

Oh  well — just  at  first  there  may  be  one  or  two 

things 

BERTA. 
Most  like  she'll  be  terrible  grand  in  her  ways. 

Miss  TESMAN. 

Well,  you  can't  wonder  at  that — General  Ga  bier's 
daughter  !  Think  of  the  sort  of  life  she  was  accus- 
tomed to  in  her  father's  time.  Don't  you  remem- 
ber how  we  used  to  see  her  riding  down  the  road 
along  with  the  General  ?  In  that  long  black  habit 
— and  with  *eathers  in  her  hat  ? 

BERTA. 

Yes  indeed — I  remember  well  enough  ! — But, 
good  Lord,  I  should  never  have  dreamt  in  those 
days  that  she  and  Master  George  would  make  a 
match  of  it. 

Miss  TESMAN. 

Nor  I. — But  by-the-bye,  Berta — while  I  think 
of  it :  in  future  you  mustn't  say  Master  George. 
You  must  say  Dr.  Tesman. 

BERTA. 

Yes,  the  young  mistress  spoke  of  that  too — last 
night— the  moment  they  set  foot  in  the  house. 
Is  it  true  then,  Miss  ? 

Miss  TESMAN. 
Yes,  indeed    it  is.     Only   think,   Berta — some 


VCT   I.]  HEDDA    GABLER.  7 

foreign  university  has  made  him  a  doctor — while 
he  has  been  abroad,  you  understand.  I  hadn't 
heard  a  word  about  it,  until  he  told  me  himself 
upon  the  pier. 

BERTA. 

Well  well,  he's  clever  enough  for  anything,  he 
is.  But  I  didn't  think  he'd  have  gone  in  for  doc- 
toring people  too. 

Miss  TESMAN. 

No  no,  it's  not  that  sort  of  doctor  he  is.  [Nods 
significantly.]  But  let  me  tell  you,  we  may 
have  to  call  him  something  still  grander  before 
long. 

BERTA. 
You  don't  say  so  !     What  can  that  be,  Miss? 

Miss  TESMAN. 

[Smiling.]  H'm — wouldn't  you  like  to  know  ! 
[  With  emotion.]  Ah,  dear  dear — if  my  poor  brother 
could  only  look  up  from  his  grave  now,  and  see 
what  his  little  boy  has  grown  into  !  [Looks  around.] 
But  bless  me,  Berta — why  have  you  done  this  ? 
Taken  the  chintz  covers  off  all  the  furniture? 

BERTA. 

The  mistress  told  me  to.  She  can't  abide  covers 
on  the  chairs,  she  says. 

Miss  TESMAN. 

Are  they  going  to  make  this  their  everyday 
sitting-room  then  ? 

BERTA. 

Yes,  that's  what  I  understood — from  the  mistress. 
Master  George — the  doctor — he  said  nothing. 


8  HEDDA    GABLER.  [ACT   I. 

GEORGE  TESMAN  comes  from  the  right  into  the  inner 
room,  humming  to  himself,  and  currying  an  un- 
strapped empty  portmanteau.  He  is  a  middle- 
sized,  young  looking  man  of  thirty-three,  rather 
stout,  with  a  round,  open,  cheerful  face,  fair  hair 
and  beard.  He  wears  spectacles,  and  is  some- 
what carelessly  dressed  in  comfortable  indoor 
clothes. 

Miss  TESMAN. 
Good  morning,  good  morning,  George. 

TESMAN. 

[/«  the  doorway  between  the  rooms.]  Aunt  Julia  ! 
Dear  Aunt  Julia  !  [Goes  up  to  her  and  shakes  hands 
warmly]  Come  all  this  way — so  early  !  Eh  ? 

Miss  TESMAN. 

Why,  of  course  I  had  to  come  and  see  how  you 
were  getting  on. 

TESMAN. 

In  spite  of  your  having  had  no  proper  night's 
rest  ? 

Miss  TESMAN. 
Oh,  that  makes  no  difference  to  me. 

TESMAN. 

Well,  I  suppose  you  got  home  all  right  from  the 
pier  ?  Eh  ? 

Miss  TESMAN. 

Yes,  quite  safely,  thank  goodness.  Judge 
Brack  was  good  enough  to  see  me  right  to  my 
door. 

TESMAN. 
We  were  so  sorry  we  couldn't  give  you  a  seat  in 


ACT    I.]  HEDDA    GABLER.  9 

the  carriage.     But  you  saw  what  a  pile  of  boxes 
Hedela  had  to  bring  with  her. 

Miss  TESMAN. 
Yes,  she  had  certainly  plenty  of  boxes. 

BERTA. 

[To  TESMAN.]  Shall  I  go  in  and  see  if  there's 
anything  I  can  do  for  the  mistress  ? 

TESMAN. 

No  thank  you,  Berta — you  needn't.  She  said 
she  would  ring  if  she  wanted  anything. 

BERTA. 
[Going  towards  the  right.]     Very  well. 

TESMAN. 

But  look  here — take  this  portmanteau  with 
you. 

BERTA, 
[Taking  it.]     I'll  put  it  in  the  attic. 

[She  goes  out  by  the  hall  door 

TESMAN. 

Fancy,  Auntie — I  had  the  whole  of  that  port- 
manteau chock  full  of  copies  of  documents.  You 
wouldn't  believe  how  much  I  have  picked  up  from 
all  the  archives  I  have  been  examining — curious 
old  details  that  no  one  has  had  any  idea 
of— 

Miss  TESMAN. 

Yes,  you  don't  seem  to  have  wasted  your  time 
on  your  wedding  trip,  George. 


10  HEDDA   GABLER.  [ACT  I. 

TESMAN. 

No,  that  I  haven't.  But  do  take  off  your  bon- 
net, Auntie.  Look  here  !  Let  me  untie  the 
strings — eh  ? 

Miss  TESMAN. 

[While  he  does  so.]  Well  well — this  is  just  as  if 
you  were  still  at  home  with  us. 

TESMAN. 

[  With  the  bonnet  in  his  hand,  looks  at  it  from  all 
sides.]  Why,  what  a  gorgeous  bonnet  you've 
been  investing  in  ! 

Miss  TESMAN. 
I  bought  it  on  Hedda's  account. 

TESMAN. 
On  Hedda's  account  ?     Eh  ? 

Miss  TESMAN. 

Yes,  so  that  Hedda  needn't  be  ashamed  of  me 
if  we  happened  to  go  out  together. 

TESMAN. 

[Patting  her  cheek]  You  always  think  of  every- 
thing, Aunt  Julia.  [Lays  the  bonnet  on  a  chair  beside 
the  table.]  And  now,  look  here — suppose  we  sit 
comfortably  on  the  sofa  and  have  a  little  chat,  till 
Hedda  comes. 

[They  seat  themselves.     She  places  her  para 
sol  in  the  corner  of  the  sofa. 

Miss  TESMAN. 

[Takes  both  his  hands  and  looks  at  him.]  What  a 
delight  it  is  to  have  you  again,  as  large  as  life, 
before  my  very  eyes,  George  !  My  George — my 
p  oorbrother's  own  boy  ! 


ACT    I.]  HEDDA    GABLER.  ll 

TESMAN. 

And  it's  a  delight  for  me,  too,  to  see  you  again, 
Aunt  Julia  !  You,  who  have  been  father  and 
mother  in  one  to  me. 

Miss  TESMAN. 

Oh  yes,  I  know  you  will  always  keep  a  place  in 
your  heart  for  your  old  aunts. 

TESMAN. 

And  what  about  Aunt  Rina  ?  No  improvement 
—eh? 

Miss  TESMAN. 

Oh  no — we  can  scarcely  look  for  any  improve- 
ment in  her  case,  poor  thing.  There  she  lies, 
helpless,  as  she  has  lain  for  all  these  years.  But 
heaven  grant  I  may  not  lose  her  yet  awhile  :  For 
if  I  did,  I  don't  know  what  I  should  make  of  my 
life,  George — especially  now  that  I  haven't  you  to 
look  after  any  more. 

TESMAN. 
[Patting  her  back.]     There  there  there ! 

Miss  TESMAN. 

[Suddenly  changing  her  toneJ\  And  to  think  that 
here  are  you  a  married  man,  George  ! — And  that 
you  should  be  the  one  to  carry  off  Hedda  Gabler 
— the  beautiful  Hedda  Gabler  !  Only  think  of  it 
— she,  that  was  so  beset  with  admirers  ! 

TESMAN. 

[Hums  a  little  and  smiles  complacently.]  Yes,  I 
fancy  I  have  several  good  friends  about  town  who 
would  like  to  stand  in  my  shoes — eh  ? 


12  HEDDA     GABLEK.  [ACT    I. 

Miss  TESMAN. 

And  then  this  fine  long  wedding-tour  you  have 
had  !  More  than  five —  nearly  six  months — 

TESMAN. 

Weil,  for  me  it  has  been  a  sort  of  tour  of  re- 
search as  well.  I  have  had  to  do  so  much  grubbing 
among  old  records — and  to  read  no  end  of  books 
too,  Auntie. 

Miss  TESMAN. 

Oh  yes,  I  suppose  so.  [More  conjidentially,  and 
lowering  her  voice  a  little.]  But  listen  now,  George, 
—have  you  nothing— nothing  special  to  tell  me  ? 

TESMAN. 
As  to  our  journey  ? 

Miss  TESMAN. 
Yes. 

TESMAN. 

No,  I  don't  know  of  anything  except  what  I  have 
told  you  in  my  letters.  I  had  a  doctor's  degree 
conferred  on  me — but  that  I  told  you  yesterday. 

Miss  TESMAN. 

Yes,  yes,  you  did.  But  what  I  mean  is — haven't 
you  any — any  — expectations ? 

TESMAN. 
Expectations  ? 

Miss  TESMAN. 
Why  you  know,  George — I'm  your  old  auntie  ! 

TESMAN. 
Why,  of  course  1  have  expectations. 


ACT    I.]  HEDDA     GABLER.  13 

Miss  TESMAN. 
Ah! 

TESMAN. 

I  have  every  expectation  of  being  a  professor 
one  of  these  days. 

Miss  TESMAN. 
Oh  yes,  a  professor — 

TESMAN. 

Indeed,  I  may  say  I  am  certain  of  it.  But  my 
dear  Auntie — you  know  all  about  that  already  ! 

Miss  TESMAN. 

[Laughing  to  herself.]  Yes,  of  course  I  do.  You 
are  quite  right  there.  \Changingthe  subject.]  Butwe 
were  talking  about  your  journey.  It  must  have 
cost  a  great  deal  of  money,  George  ? 

TESMAN. 

Well,  you  see — my  handsome  travelling-scholar- 
ship went  a  good  way. 

Miss  TESMAN. 

But  I  can't  understand  how  you  can  hare  made 
it  go  far  enough  for  two. 

TESMAN. 
No,  that's  not  so  easy  to  understand — eh  ? 

Miss  TESMAN. 

And  especially  travelling  with  a  lady — they  tell 
me  that  makes  it  ever  so  much  more  expensive 

TESMAN. 

Yes,  of  course — it  makes  it  a  little  more  expen- 
sive. But  Hedda  had  to  have  this  trip,  Auntie! 
She  really  had  to.  Nothing  else  would  have  done. 


14  HEDDA    GABLER.  [ACT    I. 

Miss  TESMAN. 

No  no,  I  suppose  not.  A  wedding-tour  seems  to 
be  quite  indispensable  nowadays. — But  tell  me  now 
— have  you  gone  thoroughly  over  the  house  yet  ? 

TESMAN. 

Yes,  you  may  be  sure  I  have.  I  have  been  afoot 
ever  since  daylight. 

Miss  TESMAN. 
And  what  do  you  think  of  it  all  ? 

TESMAN. 

I'm  delighted  !  Quite  delighted  !  Only  I  can't 
think  what  we  are  to  do  with  the  two  empty  rooms 
between  this  inner  parlour  and  Hedda's  bedroom. 

Miss  TESMAN. 

[Laughing.]  Oh  my  dear  George,  I  daresay  you 
may  find  some  use  for  them — in  the  course  of 
time. 

TESMAN. 

Why  of  course  you  are  quite  right,  Aunt  Julia  ! 
You  mean  as  my  library  increases — eh  ? 

Miss  TESMAN. 

Yes,  quite  so,  my  dear  boy.  It  was  your  library 
I  was  thinking  of. 

TESMAN. 

I  am  specially  pleased  on  Hedda's  account. 
Often  and  often,  before  we  were  engaged,  she  said 
that  she  would  never  care  to  live  anywhere  but 
in  Secretary  Falk's  villa.1 

1  In  the  original,  "  Statsradinde  Falks  villa" — showing  that 
it  had  belonged  to  the  widow  of  a  cabinet  minister. 


ACT    I.]  HEDDA    GABLER.  15 

Miss  TESMAN. 

Yes,  it  was  lucky  that  this  very  house  should 
come  into  the  market,  just  after  you  had  started. 

TESMAN. 

Yes,    Aunt   Julia,  the    luck  was    on  our  side, 
wasn't  it — eh  ? 

Miss  TESMAN. 

But  the  expense,  my  dear  George  !     You  will 
find  it  very  expensive,  all  this. 

TESMAN. 

[Looks  at  her,  a  little  cast  down.]  Yes,  I  suppose 
I  shall,  Aunt ! 

Miss  TESMAN. 
Oh,  frightfully ! 

TESMAN. 

How  much  do  you  think  ?  In  round  numbers? — 
Eh? 

Miss  TESMAN. 

Oh,  I  can't  even  guess  until  all  the  accounts 
come  in. 

TESMAN. 

Well,  fortunately,  Judge  Brack  has  secured  the 
most  favourable  terms  for  me, — so  he  said  in  a 
letter  to  Hedda. 

Miss  TESMAN. 

Yes,  don't  be  uneasy,  my  dear  boy. — Besides, 
I  have  given  security  for  the  furniture  and  all  the 
carpets. 

TESMAN. 

Security  ?  You  ?  My  dear  Aunt  Julia — what 
sort  of  security  could  you  give  ? 


16  HEDDA     6ABLER.  [ACT    I. 

Miss  TESMAN. 
I  have  given  a  mortgage  on  our  annuity. 

TESMAN. 

f  Jumps  upJ]  What !  On  your — and  Aunt  Rina's 
annuity  ! 

Miss  TESMAN. 

Yes,  I  knew  of  no  other  plan,  you  see. 

TESMAN. 

[Placing  himself  before  her.]  Have  you  gone 
out  of  your  senses,  Auntie  !  Your  annuity — it's 
all  that  you  and  Aunt  Rina  have  to  live  upon. 

Miss  TESMAN. 

Well  well — don't  get  so  excited  about  it.  It's 
only  a  matter  of  form  you  know — Judge  Brack 
assured  me  of  that.  It  was  he  that  was  kind 
enough  to  arrange  the  whole  affair  for  me  A  mere 
matter  of  form,  he  said. 

TESMAN. 

Yes,  that  may  be  all  very  well.  But  never- 
theless— 

Miss  TESMAN. 

You  will  have  your  own  salary  to  depend  upon 
now.  And,  good  heavens,  even  if  we  did  have  to 

pay  up  a   little !     To  eke  things  out  a  bit  at 

the  start !  Why,  it  would  be  nothing  but  a 

pleasure  to  us. 

TESMAN. 

Oh  Auntie — will  you  never  be  tired  of  making 
sacrifices  for  me  ' 

Miss   TESMAN. 
[Rises  and  lays  her  hand  on  his  shoulders.]     Have 


ACT    I.]  HEDDA     GABLER.  17 

I  any  other  happiness  in  this  world  except 
to  smooth  your  way  for  you,  my  dear  boy  ?  You, 
who  have  had  neither  father  nor  mother  to  depend 
on.  And  now  we  have  reached  the  goal,  George  ! 
Things  have  looked  black  enough  for  us,  some- 
times ;  but,  thank  heaven,  now  you  have  nothing 
to  fear. 

TESMAN. 

Yes,  it  is  really  marvellous  how  everything  has 
turned  out  for  the  best. 

Miss  TESMAN. 

And  the  people  who  opposed  you — who  wanted 
to  bar  the  way  for  you — now  you  have  them  at 
your  feet.  They  have  fallen,  George  Your  most 
dangerous  rival — his  fall  was  the  worst. — And  now 
he  has  to  lie  on  the  bed  he  has  made  for  himself 
— poor  misguided  creature. 

TESMAN. 

Have  you  heard  anything  of  Eilert  ?  Since  I 
went  away,  I  mean. 

Miss  TESMAN. 

Only  that  he  is  said  to  have  published  a  new 
book. 

TESMAN. 
What !     Eilert  Lovborg  !    Recently — eh  ? 

Miss  TESMAN. 

Yes,  so  they  say.  Heaven  knows  whether  it 
can  be  worth  anything  I  Ah,  when  your  new 
book  appears — that  will  be  another  story,  George  1 
What  is  it  to  be  about  ? 


18  HEDDA   GABLER.  [ACT  I. 

TESMAN. 

It  will  deal  with  the  domestic  industries  of 
Brabant  during  the  Middle  Ages. 

Miss  TESMAN. 

Fancy — to  be  able  to  write  on  such  a  subject  as 
that ! 

TESMAN. 

However,  it  may  be  some  time  before  the  book 
is  ready.  I  have  all  these  collections  to  arrange 
first,  you  see. 

Miss  TESMAN. 

Yes,  collecting  and  arranging — no  one  can  beat 
you  at  that.  There  you  are  my  poor  brother's  own 
son. 

TESMAN. 

I  am  looking  forward  eagerly  to  setting  to  work 
at  it ;  especially  now  that  I  have  my  own  delightful 
home  to  work  in. 

Miss  TESMAN. 

And,  most  of  all,  now  that  you  have  got  the  wife 
of  your  heart,  my  dear  George. 

TESMAN. 

[Embracing   her.}     Oh    yes,    yes,    Aunt    Julia 
Hedda — she  is   the  best  part  of  it  all !     [Looks 
towards  the  doorway.]    I  believe  I  hear  her  coming 
—eh? 

HEDDA  enters  from  the  left  through  the  inner  room. 
She  is  a  woman  of  nine-and  twenty.  Her  face 
and  Jigure  show  refinement  and  distinction.  Her 
complexion  is  pale  and  opaque.  Her  steel-grey 
eyes  express  a  cold,  unruffled  repose.  Her  hair 


ACT    I.]  HEDDA    GABLER.  19 

is  of  an  agreeable  medium  brown,  but  not  par- 
ticularly abundant.  She  is  dressed  in  a  tasteful, 
somewhat  loose-Jilting  morning  gown. 

Miss  TESMAN. 

[Going  to  meet  HEDDA.]  Good  morning,  my  dear 
Hedda  !  Good  morning,  and  a  hearty  welcome 

HEDDA. 

[Holds  out  her  hand.]  Good  morning,  dear  Miss 
Tesman  !  So  early  a  call  !  That  is  kind  of  you. 

Miss  TESMAN. 

[With  some  embarrassment.]  Well — has  the  bride 
slept  well  in  her  new  home  ? 

HEDDA. 
Oh  yes,  thanks.     Passably. 

TESMAN. 

[Laughing.]  Passably  !  Come,  that's  good, 
Hedda  !  You  were  sleeping  like  a  stone  when  I 
got  up. 

HEDDA. 

Fortunately.  Of  course  one  has  always  to 
accustom  one's  self  to  new  surroundings,  Miss 
Tesman — little  by  little.  [Looking  towards  the  left.] 
Oh — there  the  servant  has  gone  and  opened  the 
veranda  door,  and  let  in  a  whole  flood  of  sunshine 

Miss  TESMAN. 

[Going  towards  the  door.]  Well,  then  we  will 
shut  it. 


20  HEDDA    GABLER.  [ACT    I. 


HEDDA. 

No  no,  not  that  !  Tesrrian,  please  draw  the 
curtains.  That  will  give  a  softer  light. 

TESMAN. 

[At  the  door.]  All  right — all  right. — There  now, 
Hedda,  now  you  have  both  shade  and  fresh  air. 

HEDDA. 
Yes,  fresh  air  we  certainly  must  have,  with  all 

these  stacks  of  flowers .     But — won't  you  sit 

down,  Miss  Tesman  ? 

Miss  TESMAN. 

No,  thank  you.  Now  that  I  have  seen  that 
everything  is  all  right  here — thank  heaven! — I 
must  be  getting  home  again.  My  sister  is  lying 
longing  for  me,  poor  thing. 

TESMAN. 

Give  her  my  very  best  love,  Auntie  ;  and  say  1 
shall  look  in  and  see  her  later  in  the  day. 

Miss  TESMAN. 

Yes,  yes,  I'll  be  sure  to  tell  her.  But  by-the- 
bye,  George — [Feeling  in  her  dress  pocket] — I 
had  almost  forgotten — I  have  something  for  you 
here. 

TESMAN. 

What  is  it,  Auntie  ?     Eh  ? 

Miss  TESMAN. 

[Produces  aflat  parcel  wrapped  in  newspaper  and 
hands  it  to  him.]  Look  here,  my  dear  boy. 

TESMAN. 
[Opening  the  parcel.  J  Well,  I  declare  ! — Have  you 


ACT    I.]  HEDDA     GABLER.  21 

really  saved  them  for  me,   Aunt  Julia  !     Hedda  ! 
isn't  this  touching — eh  ? 

HEDDA. 

[Beside  the  whatnot  on  the  right.]  Well,  what 
is  it? 

TESMAN. 
My  old  morning-shoes  !     My  slippers. 

HEDDA. 

Indeed.  I  remember  you  often  spoke  of  them 
while  we  were  abroad. 

TESMAN. 

Yes,  I  missed  them  terribly.  [Goes  up  to  her.] 
Now  you  shall  see  them,  Hedda ! 

HEDDA. 

[Going  towards  the  stove.]  Thanks,  I  really 
don't  care  about  it. 

TESMAN. 

[Following  her.]  Only  think — ill  as  she  was,  Aunt 
Rina  embroidered  these  for  me.  Oh  you  can't 
think  how  many  associations  cling  to  them. 

HEDDA. 

[At  the  table.]     Scarcely  for  me. 

Miss  TESMAN. 
Of  course  not  for  Hedda,  George. 

TESMAN. 

Well,  but  now  that  she  belongs  to  the  family, 
I  thought 


22  HEDDA  GABLER.  [ACT  I. 

HEDDA. 

[Interrupting.]     We  shall  never  get  on  with  this 
servant,  Tesman. 

Miss  TESMAN. 
Not  get  on  with  Berta  ? 

TESMAN. 
Why,  dear,  what  puts  that  in  your  head  ?     Eh  ? 

HEDDA. 

[Pointing.]     Look  there  !     She  has  left  her  old 
bonnet  lying  about  on  a  chair. 

TESMAN. 

[In    consternation,  drops  theslipjyers  on  the  floor. 
Why,  Hedda 

HEDDA. 

Just    fancy,   if  any  one    should   come    in  and 
see  it ! 

TESMAN. 
But  Hedda — that's  Aunt  Julia's  bonnet. 

HEDDA. 

Is  it! 

Miss  TESMAN. 

[Taking  up  the  bonnet.]     Yes,  indeed  it's  mine. 
And,  what's  more,  it's  not  old,  Madam  Hedda. 

HEDDA. 

I    really    did    not    look    closely    at    it,    Miss 
Tesman. 


ACT    I.]  HEDDA    GABLER.  23 


Miss  TESMAN. 

[Trying  on  the  bonnet.]  Let  me  tell  you  it's 
the  first  time  I  have  worn  it — the  very  first  time. 

TESMAN. 

And  a  very  nice  bonnet  it  is  too — quite  a 
beauty ! 

Miss  TESMAN. 

Oh,  it's  no  such  great  things,  George.  [Looks 
around  her.]  My  parasol—  —  ?  Ah,  here.  [Takes 
it.]  For  this  is  mine  too — [mutters] — not  Berta's. 

TESMAN. 

A  new  bonnet  and  a  new  parasol !  Only  think, 
Hedda ! 

HEDDA. 
Very  handsome  indeed. 

TESMAN. 

Yes,  isn't  it  ?  Eh  ?  But  Auntie,  take  a  good 
look  at  Hedda  before  you  go !  See  how  hand- 
some she  is  ! 

Miss  TESMAN. 

Oh,  my  dear  boy,  there's  nothing  new  in  that. 
Hedda  was  always  lovely. 

[She  nods  and  goes  towards  the  nght. 

TESMAN. 

[Following.]  Yes,  but  have  you  noticed  what 
splendid  condition  she  is  in  ?  How  she  has  filled 
out  on  the  journey  ? 

HEDDA. 
[Crossing  the  room.]     Oh,  do  be  quiet J 


24  HEDDA    GABLER.  [ACT    I. 

Miss  TESMAN. 
[WTio  has  stopped  and  turned.]     Filled  out  ? 

TESMAN. 

Of  course  you  don't  notice  it  so  much  now 
;hat  she  has  that  dress  on.  But  I,  who  can 

see 

HEDDA. 

[At  the  glass  door,  impatiently.]  Oh,  you  can't  see 
my  thing. 

TESMAN. 
It  must  be  the  mountain  air  in  the  Tyrol 

HEDDA. 

[Curtly,  interrupting.]  I  am  exactly  as  I  was  when 
I  started. 

TESMAN. 

So  you  insist ;  but  I'm  quite  certain  you  are 
not.  Don't  you  agree  with  me,  Auntie  ? 

Miss  TESMAN. 

[Who  has  been  gazing  at  her  with  folded  hands.] 
Hedda  is  lovely — lovely — lovely.  [Goes  up  to  her, 
takes  her  head  between  both  hands,  draws  it  down- 
wards, and  kisses  her  hair.]  God  bless  and  pre- 
serve Hedda  Tesman — for  George's  sake. 

HEDDA. 
[Gently freeing  herself.]     Oh —  !     Let  me  go. 

Miss  TESMAN. 

[In  quiet  emotion.]  I  shall  not  let  a  day  pass 
without  coming  to  see  you. 

TESMAN. 
No  you  won't,  will  you,  Auntie  ?     Eh  ? 


ACT   I.]  HEDDA    GABLER.  25 

Miss  TESMAN. 
Good-bye — good-bye ! 

[She  goes  out  by  the  hall  door.  TESMAN 
accompanies  her.  The  door  remains 
half  open.  TESMAN  can  be  heard  re- 
peating his  message  to  Aunt  Rina  and  his 
thanks  Jor  the  slippers. 

[In  the  meantime,   HEDDA  walks  about  the 

room,  raising  her  arms  and  clenching  her 

hands  as  if  in  desperation.     Then  she 

flings  back  the  curtains  from  the  glass 

door,  and  stands  there  looking  out. 

[Presently  TESMAN  returns  and  closes  the 
door  behind  him. 

TESMAN. 

[Picks  up  the  slippers  from  the  floor.]  What  are 
you  looking  at,  Hedda  ? 

HEDDA. 

[Once  more  calm  and  mistress  of  herself.]  I 
am  only  looking  at  the  leaves.  They  are  so 
yellow — so  withered. 

TESMAN. 

[Wraps  up  the  slippers  and  lays  them  on  the 
table.]  Well  you  see,  we  are  well  into  September 
now. 

HEDDA. 

[Again  restless.]  Yes,  to  think  of  it  .'—Already 
in — in  September. 

TESMAN. 

Don't  you  think  Aunt  Julia's  manner  was 
strange,  dear  ?  Almost  solemn  ?  Can  you  imagine 
what  was  the  matter  with  her  ?  Eh  ? 


26  HEDDA  GABLER.  [ACT  I. 

HEDDA. 

I  scarcely  know  her,  you  see.  Is  she  not  often 
like  that  ? 

TESMAN. 
No,  not  as  she  was  to-day. 

HEDDA. 

[Leaving  the  glass  door.]  Do  you  think  she  was 
annoyed  about  the  bonnet  ? 

TESMAN. 

Oh,  scarcely  at  all.  Perhaps  a  little,  just  at  the 
moment — 

HEDDA. 

But  what  an  idea,  to  pitch  her  bonnet  about  in 
the  drawing  room  !  No  one  does  that  sort  of 
thing. 

TESMAN. 

Well  you  may  be  sure  Aunt  Julia  won't  do  it 
again. 

HEDDA. 

In  any  case,  I  shall  manage  to  make  my  peace 
with  her, 

TESMAN. 
Yes,  my  dear,  good  Hedda,  if  you  only  would  . 

HEDDA. 

When  you  call  this  afternoon,  you  might  invite 
her  to  spend  the  evening  here. 

TESMAN. 

Yes,  that  I  will.  And  there's  one  thing  more 
you  could  do  that  would  delight  her  heart. 


ACT  I.]  HEDDA   GABLER.  2? 

HEDDA. 
What  is  it  ? 

TESMAN. 

If  you  could  only  prevail  on  yourself  to  say  du l 
to  her.  For  my  sake,  Hedda  ?  Eh  ? 

HEDDA. 

No  no,  Tesman — you  really  mustn't  ask  that  ot 
me.  I  have  told  you  so  already.  I  shall  try  to 
call  her  "  Aunt "  ;  and  you  must  be  satisfied  with 
that. 

TESMAN. 

Well  well.  Only  I  think  now  that  you  belong 
to  the  family,  you 

HEDDA. 
H'm — I  can't  in  the  least  see  why — 

[She  goes  up  towards  the  middle  doorway. 

TESMAN. 

[After  a  pause.']  Is  there  anything  the  matter 
with  you,  Hedda  ?  Eh  ? 

HEDDA. 

I'm  only  looking  at  my  old  piano.  It  doesn't 
go  at  all  well  with  all  the  other  things. 

TESMAN. 

The  first  time  I  draw  my  salary,  we'll  see  about 
exchanging  it. 

HEDDA. 

No,  no — no  exchanging.  I  don't  want  to  part 
with  it.  Suppose  we  put  it  there  in  the  inner 

1  Du  =  them  :  Tesman  means,  ' '  If  you  could  persuade  your- 
self to  tufoyer  her." 


28  HEDDA    OABLER.  [ACT    I. 

room,  and  then  get   another  here   in   its   place. 
When  it's  convenient,  I  mean. 

TESMAN. 

[A  little  taken  aback.]  Yes — of  course  we  could 
do  that. 

HEDDA. 

[Takes  up  the  bouquet  from  the  piano  J\  These 
riowers  were  not  here  last  night  when  we  arrived 

TESMAN. 

Aunt  Julia  must  have  brought  them  for  you. 

HEDDA. 

[Examining  the  bouquet.]  A  visiting-card.  [Takes 
it  out  and  reads :]  "  Shall  return  later  in  the 
day."  Can  you  guess  whose  card  it  is  ? 

TESMAN. 
iSTo.  Whose  ?  Eh  ? 

HEDDA. 
The  name  is  "  Mrs.  Elvsted." 

TESMAN. 

Is  it  really  ?  Sheriff  Elvsted's  wife  ?  Miss 
Rysing  that  was. 

HEDDA. 

Exactly.  The  girl  with  the  irritating  hair,  that 
she  was  always  showing  off.  An  old  flame  of 
yours  I've  been  told. 

TESMAN. 

[Laughing.']  Oh,  that  didn't  last  long ;  and  it 
was  before  I  knew  you,  Hedda.  But  fancy  her 
being  in  town  ! 


ACT  I.]  HEDDA  GABLER.  29 

HEDDA. 

It's  odd  that  she  should  call  upon  us.  I  have 
scarcely  seen  her  since  we  left  school. 

TESMAN. 

I  haven't  seen  her  either  for — heaven  knows 
how  long.  I  wonder  how  she  can  endure  to  live 
in  such  aa  out-of-the  way  hole — eh  ? 

HEDDA. 

[After  a  moment's  thought,  says  suddenly.]  Tell 
me,  Tesman — isn't  it  somewhere  near  there  that 
he — that — Eilert  Lovborg  is  living  ? 

TESMAN. 

Yes,  he  is  somewhere  in  that  part  of  the 
country. 

BERTA  enters  by  the  hall  door. 

BERTA. 

That  lady,  ma'am,  that  brought  some  flowers  a 
little  while  ago,  is  here  again.  [Pointing.]  The 
flowers  you  have  in  your  hand,  ma'am. 

HEDDA. 
Ah,  is  she  ?     Well,  please  show  her  in. 

BERTA  opens  the  door  for  MRS.  ELVSTED,  and  goes 
out  herself. — MRS.  ELVSTED  is  a  woman  oj 
fragile  figure,  with  pretty,  soft  features.  Her 
eyes  are  light  blue,  large,  round,  and  somewhat 
prominent,  with  a  startled,  inquiring  expression. 
Her  hair  is  remarkably  light,  almost  flaxen,  and 
unusually  abundant  and  wavy.  She  is  a  couple 
of  years  younger  than  HEDDA.  She  wears  a 
dark  visiting  dress,  tasteful,  but  not  quite  in  the 
latest  fashion. 


30  HEDDA   GABLER.  [ACT  I. 

HEDDA. 

[Receives  her  warmly.]  How  do  you  do,  rny  dear 
Mrs.  Elvsted  ?  It's  delightful  to  see  you  again. 

MRS.  ELVSTED. 

[Nervously,  struggling  for  self-control.]  Yes,  it's 
a  very  long  time  since  we  met. 

TESMAN. 
[Gives  her  his  hand.]     And  we  too — eh  ? 

HEDDA. 
Thanks  for  your  lovely  flowers 

MRS.  ELVSTED. 

Oh,  not  at  all .    I  would  have  come  straight 

here  yesterday  afternoon ;  but  I  heard  that  you 

were  away 

TESMAN. 
Have  you  just  come  to  town  ?     Eh  ? 

MRS.  ELVSTED. 

I  arrived  yesterday,  about  midday.  Oh,  I  was 
quite  in  despair  when  I  heard  that  you  were  not 
at  home. 

HEDDA. 
In  despair  !     How  so  ? 

TESMAN. 

Why,  my  dear  Mrs.  Rysing — I  mean  Mrs. 
Elvsted— 

HEDDA. 
I  hope  that  you  are  not  in  any  trouble  ? 


ACT  I.]  HEDDA   GABLER.  31 

MRS.  ELVSTED. 

Yes,  I  am.     And  1  don't  know  another  living 
creature  here  that  I  can  turn  to. 

HEDDA. 

[Laying  the  bouquet  on  the  table.]     Come — let  us 
sit  here  on  the  sofa 

MRS.  ELVSTED. 
Oh,  I  am  too  restless  to  sit  down. 

HEDDA. 
Oh  no,  you're  not.     Come  here. 

[She  draws  MRS.  ELVSTED  down  upon  the 
sofa  and  sits  at  her  side. 

TESMAN.  • 

Well  ?     What  is  it,  Mrs.  Elvsted ? 


HEDDA. 

Has  anything  particular    happened  to   you  at 
home? 

MRS.  ELVSTED. 

Yes — and    no.        Oh — I    am    so    anxious    you 
should  not  misunderstand  me 

HEDDA. 

Then  your  best  plan  is  to  tell   us  the  whole 
story,  Mrs.  Elvsted. 

TESMAN. 
I  suppose  that's  what  you  have  come  for — eh  ? 

MRS.  ELVSTED. 
Yes,  yes — of  course  it  is.     Well  then,  I  must 


32  HEDDA     G  ABLER.  [ACT   I. 


tell  you — if  you  don't  already  know — that  Eilert 
Lovborg  is  in  town,  too. 

HEDDA. 
Lovborg ! 

TESMAN. 

What !  Has  Eilert  Lovborg  come  back  ?  Fancy 
that,  Hedda  ! 

HEDDA. 
Well  well — I  hear  it. 

MRS.  ELVSTED. 

He  has  been  here  a  week  already.  Just  fancy 
— a  whole  week  !  In  this  terrible  town,  alone  ! 
With  so  many  temptations  on  all  sides. 

•  HEDDA. 

But,  my  dear  Mrs.  Elvsted — how  does  h  e  con- 
cern you  so  much  ? 

MRS.  ELVSTED. 

[Looks  at  her  with  a  startled  air,  and  says  rapidly '.] 
He  was  the  children's  tutor. 

HEDDA. 
Your  children's  ? 

MRS.  ELVSTED. 
My  husband's.     I  have  none. 

HEDDA. 
Your  step-children's,  then  ? 

MRS.  ELVSTED. 
Yes. 


ACT    I.~  HEDDA     (J  ABLER. 


TESMAN. 

[Someivhat  hesitatingly.]  Then  was  he — I  don't 
know  how  to  express  it — was  he — regular  enough 
in  his  habits  to  be  fit  for  the  post  ?  Eh  ? 

MRS.  ELVSTED. 

For  the  last  two  years  his  conduct  has  been 
irreproachable. 

TESMAN. 
Has  it  indeed  ?     Fancy  that,  Hedda ! 

HEDDA, 
I  hear  it. 

MRS.  ELVSTED. 

Perfectly  irreproachable,  I  assure  you !  In 
every  respect.  But  all  the  same — now  that  I 
know  he  is  here — in  this  great  town — and  with  a 
large  sum  of  money  in  his  hands — I  can't  help 
being  in  mortal  fear  for  him, 

TESMAN. 

Why  did  he  not  remain  where  he  was  ?  With 
you  and  your  husband  ?  Eh  ? 

MRS.  ELVSTED. 

After  his  book  was  published  he  was  too  rest- 
less and  unsettled  to  remain  with  us. 

TESMAN. 

Yes,  by-the-bye,  Aunt  Julia  told  me  he  had 
published  a  new  book. 

MRS.  ELVSTED. 

Yes,  a   big  book,  dealing  with  the  march  of 
civilisation — in  broad  outline,  as  it  were.     It  came 
x  c 


34  HEDDA    GABLER.  [ACT    I. 

out  about  a  fortnight  ago.  And  since  it  has  sold 
so  well,  and  been  so  much  read— and  made  such 
a  sensation  — 

TESMAN. 

Has  it  indeed?  It  must  be  something  he  has 
had  lying  by  since  his  better  days. 

MRS.  ELVSTED. 
Long  ago,  you  mean  ? 

TESMAN. 
Yes. 

MRS.  ELVSTED. 

No,  he  has  written  it  all  since  he  has  been 
with  us— within  the  last  year. 

TESMAN. 
Isn't  that  good  news/Hedda  ?     Think  of  that . 

MRS.  ELVSTED. 
Ah  yes,  if  only  it  would  last ! 

HEDDA. 
Have  you  seen  him  here  in  town  ? 

MRS.  ELVSTED. 

No,  not  yet.  I  have  had  the  greatest  difficulty 
in  finding  out  his  address.  But  this  morning  I 
discovered  it  at  last. 

HEDDA, 

[Looks  searchingly  at  her.]  Do  you  know,  it  seems 
to  me  a  little  odd  of  your  husband — h'm 

MRS.  ELVSTED. 
[Starting  nervously.]     Of  my  husband  !     What? 


ACT  I.]  HEDDA  GABLE R.  35 

HEDDA. 

That  he  should  send  you  to  town  on  such  an 
errand — that  he  does  not  come  himself  and  look 
after  his  friend. 

MRS.  ELVSTED. 

Oh  no,  no — my  husband  has  110  time.  And 
besides,  I — I  had  some  shopping  to  do. 

HEDDA. 

\With  a  slight  smiled]  Ah,  that  is  a  different 
matter. 

MRS.  ELVSTED. 

[Rising  quickly  and  uneasily.]  And  now  I  beg 
and  implore  you,  Mr.  Tesman — receive  Eilert 
Lovborg  kindly  if  he  comes  to  you  !  And  that 
he  is  sure  to  do.  You  see  you  were  such  great 
friends  in  the  old  days.  And  then  you  are 
interested  in  the  same  studies — the  same  branch 
of  science — so  far  as  I  can  understand. 

TESMAN. 
We  used  to  be,  at  any  rate. 

MRS,  ELVSTED. 

That  is  why  I  beg  so  earnestly  that  you— you 
too — will  keep  a  sharp  eye  upon  him.  Oh,  you 
will  promise  me  that,  Mr.  Tesman — won't  you  ? 

TESMAN. 
With  the  greatest  of  pleasure,  Mrs.  Rysing 

HEDDA. 
Elvsted. 

TESMAN. 

I  assure  you  I  shall  do  all  I  possibly  can  for 
Eilert.  You  may  rely  upon  me. 


36  HEDDA   GABLER.  [ACT  I. 

MRS.  ELVSTED 

Oh,  how  very,  very  kind  of  you  !  [Presses  his 
hands.]  Thanks,  thanks,  thanks  !  [Frightened.] 
You  see,  my  husband  is  so  very  fond  of  him  ! 

HEDDA. 

[Rising.']  You  ought  to  write  to  him,  Tesman. 
Perhaps  he  may  not  care  to  come  to  you  of  his 
own  accord. 

TESMAN. 

Well,  perhaps  it  would  be  the  right  thing  to 
do,  Hedda?  Eh? 

HEDDA. 
A»d  the  sooner  the  better.     Why  not  at  once  ? 

MRS.  ELVSTED. 
[Imploringly.]     Oh,  if  you  only  would  ! 

TESMAN. 

I'll  write  this  moment.  Have  you  his  address, 
Mrs.— Mrs.  Elvsted. 

MRS.   ELVSTED. 

Yes.  [Takes  a  slip  of  paper  from  her  pocket, 
and  hands  it  to  him.]  Here  it  is. 

TESMAN. 

Good,  good.     Then  I'll  go  in [Looks  about 

him.]     By-the-bye, — my  slippers  ?     Oh,  here. 

[  Takes  the  packet,  and  is  about  to  go. 

HEDDA. 

Be  sure  you  write  him  a  cordial,  friendly  letter. 
And  a  good  long  one  too. 


ACT  I.]  HEDDA  GABLER.  37 

TESMAN, 
Yes,  I  will. 

MRS.  ELVSTED. 

But  please,  please  don't  say  a  word  to  show 
that  I  have  suggested  it. 

TESMAN. 
No,  how  could  you  think  I  would  ?     Eh  ? 

[He  goes  out  to  the  right,  through  the  inner 
room. 

HEDDA. 

[Goes  up  to  MRS.  ELVSTED,  smiles,  and  says  in  a 
low  voice.]  There  !  We  have  killed  two  birds 
with  one  stone. 

MRS.  ELVSTED. 
What  do  you  mean  ? 

HEDDA. 
Could  you  not  see  that  I  wanted  him  to  go  ? 

MRS.  ELVSTED. 
Yes,  to  write  the  letter 

HEDDA. 
And  that  I  might  speak  to  you  alone. 

MRS.  ELVSTED. 
[Confused.]     About  the  same  thing  ? 

HEDDA. 
Precisely. 

MRS.  ELVSTED. 

[Apprehensively.]  But  there  is  nothing  more 
Mrs.  Tesman  !  Absolutely  nothing  ! 


38  HEDDA  GABLER.  [ACT  I. 

HEDDA. 

Oh  yes,  but  there  is.  There  is  a  great  deal 
more — I  can  see  that.  Sit  here — and  we'll  have  a 
cosy,  confidential  chat. 

[She  forces  M  RS.  ELVSTED  lo  sit  in  the  easy- 
chair  beside  the  stove,  and  seats  herself 
on  one  of  the  footstools. 

MRS.  ELVSTED. 

[Anxiously,  looking  at  her  watch.]  But,  my 
dear  Mrs.  Tesman — I  was  really  on  the  point  of 
going. 

HEDDA. 

Oh,  you  can't  be  in  such  a  hurry.- — Well  ?  Now 
tell  me  something  about  your  life  at  home. 

MRS.  ELVSTED. 
Oh,  that  is  just  what  I  care  least  to  speak  about. 

HEDDA. 

But    to    me,    dear ?      Why,    weren't    we 

schoolfellows  ? 

MRS..  ELVSTED. 

Yes,  but  you  were  in  the  class  above  me.  Oh, 
how  dreadfully  afraid  of  you  I  was  then  ! 

HEDDA. 
Afraid  of  me  ? 

MRS.  ELVSTED. 

Yes,  dreadfully.  For  when  we  met  on  the 
stairs  you  used  always  to  pull  my  hair. 

HEDDA. 
Did  I,  really  ? 


ACT  I.J  HEDDA   GABLER.  39 

MRS.  ELVSTED. 

Yes,  and  once  you  said  you  would  burn  it  ott 
my  head. 

HEDDA. 
Oh  that  was  all  nonsense,  of  course. 

MRS.  ELVSTED. 

Yes,  but  I  was  so  silly  in  those  days. — And 
since  then,  too — we  have  drifted  so  far — far  apart 
from  each  other.  Our  circles  have  been  so 
entirely  different. 

HEDDA. 

Well  then,  we  must  try  to  drift  together  again. 
Now  listen !  At  school  we  said  dul  to  each 
other ;  and  we  called  each  other  by  our  Christian 

names 

MRS.  ELVSTED. 
No,  I  am  sure  you  must  be  mistaken. 

HEDDA. 

No,  not  at  all !  I  can  remember  quite  distinctly. 
So  now  we  are  going  to  renew  our  old  friendship. 
[Draws  the  footstool  closer  to  MRS.  ELVSTED.] 
There  now  !  [Kisses  her  cheek.]  You  must  say  du 
to  me  and  call  me  Hedda. 

MRS.  ELVSTED. 

[Presses  and  pats  her  htmds.]  Oh,  how  good  and 
kind  you  are  !  I  am  not  used  to  such  kindness. 

HEDDA. 

There,  there,  there  !  And  I  shall  say  rfwtoyou, 
as  in  the  old  days,  and  call  you  my  dear  Thora. 

1  See  footnote,  p.  27. 


40  HEDDA   GABLER.  [ACT  I. 

MRS.  ELVSTED. 
My  name  is  Thea.1 

HEDDA. 

Why,  of  course  !  I  meant  Thea.  [Looks  at  her 
compassionately.]  So  you  are  not  accustomed  to 
goodness  and  kindness,  Thea  ?  Not  in  your  own 
home  ? 

MRS.  ELVSTED. 

Oh,  if  I  only  had  a  home  !  But  I  haven't  any ; 
I  have  never  had  a  home. 

HEDDA. 

[Looks  at  her  Jor  a  moment .]  I  almost  suspected 
as  much. 

MRS.  ELVSTED. 
[Gazing  helplessly  before  her.]    Yes — yes — yes. 

HEDDA. 

I  don't  quite  remember — was  it  not  as  house- 
keeper that  you  first  went  to  Mr.  Elvsted's  ? 

MRS.  ELVSTED. 

I  really  went  as  governess.  But  his  wife — his 
late  wife — was  an  invalid, — -and  rarely  left  her 
room.  So  I  had  to  look  after  the  housekeeping 
as  well. 

HEDDA. 

And  then — at  last — you  became  mistress  of  the 
house. 

MRS.  ELVSTED. 

[Sadly.]    Yes,  I  did. 

HEDDA. 
Let  me  see — about  how  long  ago  was  that  ? 

1  Pronounce  Tora  and  Taya. 


ACT  I.]  HEDDA   GABLER.  41 

MRS.  ELVSTED. 
My  marriage  ? 

HEDDA. 
Yes. 

MRS.  ELVSTED. 
Five  years  ago. 

HEDDA. 
To  be  sure ;  it  must  be  that. 

MRS.  ELVSTED. 

Oh  those  five  years !     Or  at  all  events  the 

last  two  or  three  of  them  !     Oh,  if  you  '  could 

only  imagine • 

HEDDA. 

[Giving  her  a  little    slap   on   the  hand.]      De  ? 
Fie,  Thea ! 

MRS.  ELVSTED. 

Yes,  yes,  I  will  try Well,  if — you  could 

only  imagine  and  understand • 

HEDDA. 

[Lightly.]      Eilert    Lovborg  has  been   in   youi 
neighbourhood  about  three  years,  hasn't  he  ? 

MRS.    ELVSTED. 

[Looks   at   her    doubtfully.]       Eilert    Lovborg  ? 
Yes — he  has. 

HEDDA. 
Had  you  known  him  before,  in  town  here  ? 

MRS.  ELVSTED. 

Scarcely  at  all.     I  mean — I  knew  him  by  name 
of  course. 

1  Mrs.  Elvsted  here  uses  the  formal  pronoun  De,  whereupon 
Hedda  rebukes  her.     In  her  next  speech  Mrs.  Elvsted  says  du. 


42  HEDDA  GABLER.  [ACT  I. 

HEDDA. 
But  you  saw  a  good  deal  of  him  in  the  country  ? 

MRS.  ELVSTED. 

Yes,  he  came  to  us  every  day.  You  see,  he 
gave  the  children  lessons ;  for  in  the  long  run  I 
couldn't  manage  it  all  myself. 

HEDDA. 

No,  that's  clear. — And  your  husband ?     I 

suppose  he  is  often  away  from  home  ? 

MRS.  ELVSTED. 

Yes.  Being  sheriff,  you  know,  he  has  to  travel 
about  a  good  deal  in  his  district. 

HEDDA. 

[ Leaning  against  the  arm  of  the  chair."]  Thea — my 

poor,  sweet  Thea — now  you   must  tell  me  every- 
thing— exactly  as  it  stands. 

MRS.  ELVSTED. 
Well  then,  you  must  question  me. 

HEDDA. 

What  sort  of  a  man  is  your  husband,  Thea  ?  I 
mean — you  know— in  everyday  life.  Is  he  kind 
to  you  ? 

MRS.  ELVSTED. 

[Evasively.]  I  am  sure  he  means  well  in  every- 
thing. 

HEDDA. 

I  should  think  he  must  be  altogether  too  old 
for  you.  There  is  at  least  twenty  years'  difference 
between  you,  is  there  not  ? 


ACT  I.]  HEDDA   GABLER.  4>3 

MRS.   ELVSTED. 

[Irritably.]  Yes,  that  is  true,  too.  Everything 
about  him  is  repellent  to  me  !  We  have  not  a 
thought  in  common.  We  have  no  single  point  of 
sympathy — he  and  I. 

HEDDA. 

But  is  he  not  fond  of  you  all  the  same  ?  In  his 
own  way  ? 

MRS.  ELVSTED. 

Oh  I  really  don't  know.  I  think  he  regards  me 
simply  as  a  useful  property.  And  then  it  doesn't 
cost  much  to  keep  me.  I  am  not  expensive. 

HEDDA. 
That  is  stupid  of  you. 

MRS.  ELVSTED. 

[Shakes  her  head.]  It  cannot  be  otherwise — 
not  with  him.  I  don't  think  he  really  cares  for 
any  one  but  himself — and  perhaps  a  little  for  the 
children. 

HEDDA 
And  for  Eilert  Lovberg,  Thea. 

MRS.  ELVSTED. 

[Looking  at  her.]  For  Eilert  Lovborg  ?  What 
puts  that  into  your  head  ? 

HEDDA. 
Well,  my  dear — I  should  say,  when  he  sends  you 

after   him    all    the    way    to    town [Smiling 

almost  imperceptibly.]      And  besides,   you  said  so 
yourself,  to  Tesman. 


44  HEDDA    OABLER.  [ACT    I. 


MRS.   ELVSTED. 

[  With  a  little  nervous  twitch.]  Did  I  ?  Yes,  I 
suppose  I  did.  [Vehemently,  but  not  loudly.]  No 
— I  may  just  as  well  make  a  clean  breast  of  it  at 
once  !  For  it  must  all  come  out  in  any  case. 

HEDDA. 
Why,  my  dear  Thea ? 

MRS.  ELVSTED. 

Well,  to  make  a  long  story  short :  My  husband 
did  not  know  that  I  was  coming. 

HEDDA. 
What '     Your  husband  didn't  know  it ' 

MRS.  ELVSTED. 

No,  of  course  not.  For  that  matter,  he  was 
away  from  home  himself — he  was  travelling.  Oh, 
I  could  bear  it  no  longer,  Hedda  !  I  couldn't 
indeed — so  utterly  alone  as  I  should  have  been  in 
future. 

HEDDA. 
Well  ?    And  then  ? 

MRS.  ELVSTED. 

So  I  put  together  some  of  my  things — what  I 
needed  most — as  quietly  as  possible.  And  then  I 
left  the  house. 

HEDDA. 
Without  a  word  ? 

MRS.  ELVSTED. 
Yes — and  took  the  train  straight  to  town. 


ACT  I.]  HEDDA   GABLER.  45 

HEDDA. 

Why,  my  dear,  good  Thea — to  think  of  you 
daring  to  do  it ! 

MRS.  ELVSTED. 

[Rises   and  moves  about  the  roowz.]     What  else 
could  I  possibly  do  ? 

HEDDA. 

But  what  do  you   think  your  husband  will  say 
when  you  go  home  again  ? 

MRS.  ELVSTED. 
[At  the  table,  looks  at  her.~\     Back  to  him  ? 

HEDDA. 
Of  course. 

MRS.  ELVSTED. 
I  shall  never  go  back  to  him  again. 

HEDDA. 

[Rising   and  going    towards    herJ\      Then    you 
have  left  your  home — for  good  and  all  ? 

MRS.  ELVSTED. 
Yes.     There  was  nothing  else  to  be  done. 

HEDDA. 
But  then — to  take  flight  so  openly 

MRS.  ELVSTED. 

Oh,  it's  impossible  to  keep  things  of  that  sort 
secret. 

HEDDA. 

But  what  do  you  think  people  will  say  of  you, 
Thea  ? 


46  HEDDA    O  ABLER.  [ACT  I. 

MRS.  ELVSTED. 

They  may  say  what  they  like,  for  aught  /  care. 
[Seats  herself  wearily  and  sadly  on  the  sofa.]  I  have 
done  nothing  but  what  I  had  to  do. 

HEDDA. 

[After  a  short  silence.]  And  what  are  your 
plans  now  ?  What  do  you  think  of  doing  ? 

MRS.  ELVSTED. 

I  don't  know  yet.  I  only  know  this,  that  I 
must  live  here,  where  Eilert  Lovborg  is — if  I  am 
to  live  at  all. 

HEDDA. 

[Takes  a  chair  from  the  table,  seats  herself  beside 
her,  and  strokes  her  hands.]  My  dear  Thea — how 
did  this — this  friendship — between  you  and  Eilert 
Lovborg  come  about  ? 

MRS.  ELVSTED. 

Oh  it  grew  up  gradually.  I  gained  a  sort  of 
influence  over  him. 

HEDDA. 
Indeed  ? 

MRS.  ELVSTED. 

He  gave  up  his  old  habits.  Not  because  I 
asked  him  to,  for  I  never  dared  do  that.  But  of 
course  he  saw  how  repulsive  they  were  to  me ; 
and  so  he  dropped  them. 

HEDDA. 

[Concealing  an  'involuntary/  smile  of  scorn.]  Then 
you  have  reclaimed  him — as  the  saying  goes — my 
little  Thea. 


ACT  I.]  HEDDA   GABLEH.  47 

MRS.  ELVSTED. 

So  he  says  himself,  at  any  rate.  And  he,  on 
his  side,  has  made  a  real  human  being  of  me — 
taught  me  to  think,  and  to  understand  so  many 
things. 

HEDDA. 

Did  he  give  you  lessons  too,  then  ? 

MRS.  ELVSTED. 

No,  not  exactly  lessons.  But  he  talked  to  me 
— talked  about  such  an  infinity  of  things.  And 
then  came  the  lovely,  happy  time  when  I  began 
to  share  in  his  work — when  he  allowed  me  to  help 
him! 

HEDDA. 
Oh  he  did,  did  he  ? 

MRS.  ELVSTED. 

Yes  !  He  never  wrote  anything  without  my 
assistance. 

HEDDA. 

You  were  two  good  comrades,  in  fact  ? 

MRS.  ELVSTED. 

[Eagerly.]  Comrades !  Yes,  fancy,  Hedda — 
that  is  the  very  word  he  used  !— Oh,  I  ought  to 
feel  perfectly  happy  ;  and  yet  I  cannot ;  for  I 
don't  know  how  long  it  will  last. 

HEDDA. 
Are  you  no  surer  of  him  than  that  ? 

MRS.  ELVSTED. 

[Gloomily.]  A  woman's  shadow  stands  between 
Eilert  Lovberg  and  me. 


48  HEDDA  GABLER.  [ACT  I 

HEDDA. 
[Looks  at  her  anxiously.]     Who  can  that  be  ? 

MRS.  ELVSTED. 

I  don't  know.  Some  one  he  knew  in  his — in 
his  past.  Some  one  he  has  never  been  able 
wholly  to  forget. 

HEDDA. 
What  has  he  told  you — about  this  ? 

MRS.  ELVSTED. 
He  has  only  once — quite  vaguely — alluded  to  it. 

HEDDA. 
Well  !     And  what  did  he  say  ? 

MRS.  ELVSTED. 

He  said  that  when  they  parted,  she  threatened 
to  shoot  him  with  a  pistol. 

HEDDA. 

[With  cold  composure.]  Oh  nonsense  !  No  one 
does  that  sort  of  thing  here. 

MRS.  ELVSTED. 

No.  And  that  is  why  I  think  it  must  have 
been  that  red-haired  singing-woman  whom  he 
once — • — 

HEDDA. 
Yes,  very  likely. 

MRS.  ELVSTED. 

For  I  remember  they  used  to  say  of  her  that 
she  carried  loaded  firearms. 


ACT  I.]  HEDDA  GABLER.  49 

HEDDA. 
Oh — then  of  course  it  must  have  been  she. 

MRS.  ELVSTED. 

[Wringing  her  hands.]  And  now  just  fancy, 
Hedda — I  hear  that  this  singing- woman — that 
she  is  in  town  again  !  Oh,  I  don't  know  what  to 
do 

HEDDA. 

[Glancing  towards  the  inner  room.]  Hush  !  Here 
comes  Tesman.  [Rises  and  whispers. J  Thea — 
all  this  must  remain  between  you  and  me. 

MRS.  ELVSTED. 

[Springing  up]  Oh  yes — yes  !  For  heaven's 
sake .' 

GEORGE   TESMAN,  with  a  letter  in  his  hand,  comes 
from  the  right  through  the  inner  room. 

TESMAN. 
There  now — the  epistle  is  finished. 

HEDDA. 

That's  right.  And  now  Mrs.  Elvsted  is  just 
going.  Wait  a  moment — I'll  go  with  you  to  the 
garden  gate. 

TESMAN. 

Do  you  think  Berta  could  post  the  letter, 
Hedda  dear  ? 

HEDDA. 
[Takes  it.]     I  will  tell  her  to. 


50  HEDDA    GABLER.  [ACT    I. 

BERTA  enters  from  the  hall. 

BERTA. 

Judge  Brack  wishes  to  know  if  Mrs.  Tesraan 
will  receive  him. 

HEDDA. 

Yes,  ask  Judge  Brack  to  come  in.  And  look 
here — put  this  letter  in  the  post. 

BERTA. 

[Taking  the  letter.]     Yes,  ma'am. 

[She  opens  the  door  for  JUDGE  BRACK  and 
goes  out  herself.  BRACK  is  a  man  of 
forty-five ;  thick  set,  but  well-built  and 
elastic  in  his  movements.  His  face  is 
roundish  with  an  aristocratic  profile. 
His  hair  is  short,  still  almost  black,  and 
carefully  dressed.  His  eyes  are  lively 
and  sparkling.  His  eyebrows  thick.  His 
moustaches  are  also  thick,  with  short-cut 
ends.  He  wears  a  well-cut  walking-suit, 
a  little  too  youthful  for  his  age.  He 
uses  an  eye-glass,  which  he  now  and  then 
lets  drop. 

JUDGE  BRACK. 

[With  his  hat  in  his  hand,  bowing.]  May 
one  venture  to  call  so  early  in  the  day  ? 

HEDDA. 
Of  course  one  may. 

TESMAN. 

[Presses  his  hand.]  You  are  welcome  at  any 
time.  [Introducing  him.]  Judge  Brack — Miss 
Rysing 


ACT    I.]  HEDDA    GABLER.  51 


HEDDA. 

Oh ! 

BRACK. 

[Bowing.]     Ah — delighted 

HEDDA. 

[  Looks  at  him  and  laughs.]     It's   nice   to  have  a 
look  at  you  by  daylight,  Judge  ! 

BRACK. 
Do  you  find  me — altered  ? 

HEDDA. 
A  little  younger,  I  think. 

BRACK. 
Thank  you  so  much. 

TESMAN. 

But  what  do  you  think  of  Hedda — eh  ?     Doesn't 
she  look  flourishing  ?     She  has  actually 


HEDDA. 

Oh,  do  leave  me  alone.  You  haven't  thanked 
Judge  Brack  for  all  the  trouble  he  has  taken — 

BRACK. 
Oh,  nonsense — it  was  a  pleasure  to  me 

HEDDA. 

Yes,  you  are  a  friend  indeed.  But  here  stands 
Thea  all  impatience  to  be  off — so  au  revoir 
Judge.  I  shall  be  back  again  presently. 

[Mutual  salutations.      MRS.    ELVSTED   and 
HEDDA  go  out  by  the  hall  door. 


52  HEDDA    GABLER.  [ACT    1. 


BRACK. 
Well, — is  your  wife  tolerably  satisfied 

TESMAN. 

Yes,  we  can't  thank  you  sufficiently.  Of  course 
she  talks  of  a  little  re-arrangement  here  and  there  ; 
and  one  or  two  things  are  still  wanting,  We  shall 
have  to  buy  some  additional  trifles. 

BRACK. 
Indeed  ! 

TESMAN. 

But  we  won't  trouble  you  about  these  things. 
Hedda  says  she  herself  will  look  after  what  is 
wanting.— Shan't  we  sit  down  ?  Eh  ? 

BRACK. 

Thanks,  for  a  moment.  [Seats  himself  beside  the 
tabled]  There  is  something  I  wanted  to  speak  to 
you  about,  my  dear  Tesman. 

TESMAN. 

Indeed  ?  Ah,  I  understand  !  [Seating  himself.] 
I  suppose  it's  the  serious  part  of  the  frolic  that  is 
coming  now.  Eh  ? 

BRACK. 

Oh,  the  money  question  is  not  so  very  pressing ; 
though,  for  that  matter,  I  wish  we  had  gone  a 
little  more  economically  to  work. 

TESMAN. 

But  that  would  never  have  done,  you  know ! 
Think  of  Hedda,  my  dear  fellow !  You,  who 

know   her  so   well .     I   couldn't  possibly  ask 

her  to  put  up  with  a  shabby  style  of  living  ! 


ACT  I.]  HEDDA  GABLER.  53 

BRACK. 

No,  no — that  is  just  the  difficulty. 

TESMAN. 

And  then — fortunately — it  can't  be  long  before 
I  receive  my  appointment. 

BRACK. 

Well,   you   see — such  things  are  often   apt  to 
hang  fire  for  a  time. 

TESMAN. 
Have  you  heard  anything  definite  ?     Eh  ? 

BRACK. 

Nothing    exactly    definite .       [Interrupting 

himse/f.]     But  by-the-bye — I  have  one  piece  of 
news  for  you. 

TESMAN. 
Well  ? 

BRACK. 

Your  old  friend,  Eilert  Lovborg,  has  returned 
to  town. 

TESMAN. 
I  know  that  already. 

BRACK. 
Indeed  !     How  did  you  learn  it  ? 

TESMAN. 
From  that  lady  who  went  out  with  Hedda. 

BRACK. 

Really  ?     What  was  her  name  ?     I  didn't  quite 
catch  it. 


54  HEDDA   GABLER.  [ACT  I 

TESMAN. 
Mrs.  Elvsted. 

BRACK. 

Aha — Sheriff  Elvsted's  wife  ?  Of  course — he 
has  been  living  up  in  their  regions. 

TESMAN. 

And  fancy— I'm  delighted  to  hear  that  he  is 
quite  a  reformed  character  ! 

BRACK. 
So  they  say, 

TESMAN. 
And  then  he  has  published  a  new  book — eh  ? 

BRACK. 
Yes,  indeed  he  has. 

TESMAN. 
And  I  hear  it  has  made  some  sensation  ! 

BRACK. 
Quite  an  unusual  sensation. 

TESMAN. 
Fancy — isn't  that  good  news  !     A  man  of  such 

extraordinary   talents .     I    felt  so  grieved  to 

think  that  he  had  gone  irretrievably  to  ruin. 

BRACK. 
That  was  what  everybody  thought. 

TESMAN. 

But  t  cannot  imagine  what  he  will  take  to 
now  !  How  in  the  world  will  he  be  able  to  make 
his  living  ?  Eh  ? 


ACT    I.]  HEDDA    OABLER.  55 

[During  the  last  words,  HEDDA  has  entered 
by  the  hall  door. 

HEDDA. 

[To  BRACK,  laughing  with  a  touch  of  scorn.] 
Tesman  is  for  ever  worrying  about  how  people  are 
to  make  their  living. 

TESMAN. 

Well  you  see,  dear — we  were  talking  about 
poor  Eilert  Lovborg. 

HEDDA. 

[Glancing  at  him  rapidly.]  Oh,  indeed  ?  [Seats 
herself  in  the  arm-chair  beside  the  stove  and  asks 
indifferently  :]  What  is  the  matter  with  him? 

TESMAN. 

Well — no  doubt  he  has  run  through  all  his 
property  long  ago  ;  and  he  can  scarcely  write  a 
new  book  every  year — eh  ?  So  I  really  can't  see 
what  is  to  become  of  him. 

BRACK. 

Perhaps  I  can  give  you  some  infotmation  on 
that  point. 

TESMAN. 
Indeed  ! 

BRACK. 

You  must  remember  that  his  relations  have  a 
ood  deal  of  influence. 

TESMAN. 

Oh,  his  relations,  unfortunately,  have  entirely 
washed  their  hands  of  him. 


56  HEDDA   GABLF.R.  [ACT  I, 

BRACK. 

At  one  time  they  called  him  the  hope  of  the 
family. 

TESMAN. 

At  one  time,  yes  !     But  he  has  put  an  end   to 
all  that. 

HEDDA. 

Who     knows  ?       [  With     a      slight     smile .]        I 
hear   they   have   reclaimed     him   up    at    Sheriff 

Elvsted's 

BRACK. 
And  then  this  book  that  he  has  published 


TESMAN. 

Well  well,  I  hope  to  goodness  they  may  find 
something  for  him  to  do.  I  have  just  written  to 
him.  I  asked  him  to  come  and  see  us  this  even- 
ing, Hedda  dear. 

BRACK. 

But  my  dear  fellow,  you  are  booked  for  my 
bachelors'  party  this  evening.  You  promised  on 
the  pier  last  night. 

HEDDA. 
Had  you  forgotten,  Tesman  ? 

TESMAN. 
Yes,  I  had  utterly  forgotten. 

BRACK. 

But  it  doesn't  matter,  for  you  may  be  sure  he 
won't  come. 

TESMAN 
What  makes  you  think  that  ?     Eh  ? 


ACT  I.]  HEDDA   GABLER.  57 

BRACK. 

[With  a  little  hesitation,  rising  and  resting  his 
hands  on  Ike  back  of  his  chair.]  My  dear  Tes- 
man  —  and  you  too,  Mrs.  Tesman  —  I  think  I 
ought  not  to  keep  you  in  the  dark  about  some- 
thing that — that 

TESMAN. 
That  concerns  Eilert ? 

BRACK. 
Both  you  and  him. 

TESMAN. 
Well,  my  dear  Judge,  out  with  it. 

BRACK. 

You  must  be  prepared  to  find  your  appointment 
deferred  longer  than  you  desired  or  expected. 

TESMAN. 

[Jumping  up  uneasily.]  Is  there  some  hitch 
about  it?  Eh? 

BRACK. 

The  nomination  may  perhaps  be  made  con- 
ditional on  the  result  of  a  competition 

TESMAN. 

Competition  !     Think  of  that,  Hedda  ! 

HEDDA. 

[Leans  further  back  in  the  chair.]  Aha — 
aha  ! 

TESMAN. 

But  who  can  my  competitor  be?  Surely 
not ? 


58  HEDDA   GABLER.  [ACT  I. 

BRACK. 
Yes,  precisely — Eilert  Lovborg. 

TESMAN. 

[Clasping  his  hands.]  No,  no — it's  quite  incon- 
ceivable !  Quite  impossible  '  Eh  ? 

BRACK. 
H'm — that  is  what  it  may  come  to,  all  the  same. 

TESMAN. 

Well  but,  Judge  Brack — it  would  show  the 
most  incredible  lack  of  consideration  for  me. 
[Gesticulates  with  his  arms.]  For — just  think — 
I'm  a  married  man  !  We  have  married  on  the 
strength  of  these  prospects,  Hedda  and  I  ;  and 
run  deep  into  debt ;  and  borrowed  money  from 
Aunt  Julia  too.  Good  heavens,  they  had  as  good 
as  promised  me  the  appointment.  Eh  ? 

BRACK. 

Well,  well,  well — no  doubt  you  will  get  it  in 
the  end  ;  only  after  a  contest. 

HEDDA. 

[Immovable  in  her  arm-chair.]  Fancy,  Tesman, 
there  will  be  a  sort  of  sporting  interest  in  that. 

TESMAN. 

Why,  my  dearest  Hedda,  how  can  you  be  so 
indifferent  about  it. 

HEDDA. 

[As  before.]  1  am  not  at  all  indifferent.  I  am 
most  eager  to  see  who  wins. 


ACT  I.]  HEDUA   OABLF.R.  59 

BRACK. 

In  any  case,  Mrs.  Tesman,  it  is  best  that  you 
should  know  how  matters  stand.  I  mean — before 
you  set  about  the  little  purchases  I  hear  you  are 
threatening. 

HEDDA. 
This  can  make  no  difference. 

BRACK. 

Indeed  !  Then  I  have  no  more  to  say.  Good- 
bye !  [To  TESMAN.]  I  shall  look  in  on  my  way 
back  from  my  afternoon  walk,  and  take  you  home 
with  me. 

TESMAN. 
Oh  yes,  yes — your  news  has  quite  upset  me. 

HEDDA. 

[Reclining,  holds  out  her  hand.]  Good-bye, 
Judge  ;  and  be  sure  you  call  in  the  afternoon. 

BRACK. 
Many  thanks.     Good-bye,  good-bye  ! 

TESMAN. 

[Accompanying  him  to  the  door.]  Good-bye 
my  dear  Judge  !  You  must  really  excuse  me — 

[JUDGE  BRACK  goes  out  by  the  hall  door. 

TESMAN. 

[Crosses  the  room.]  Oh  Hedda — one  should 
never  rush  into  adventures.  Eh  ? 

HEDDA. 
[Looks  at  him,  smiling.]     Do  you  do  th?t? 


60  HEDDA  OABLER.  [ACT  I. 

TESMAN. 

Yes,  dear — -there  is  no  denying — it  was  adven- 
turous to  go  and  marry  and  set  up  house  upon 
mere  expectations. 

HEDDA. 
Perhaps  you  are  right  there. 

TESMAN. 

Well — at  all  events,  we  have  our  delightful 
home,  Hedda  !  Fancy,  the  home  we  both  dreamed 
of — the  home  we  were  in  love  with,  I  may  almost 
say.  Eh  ? 

HEDDA. 

[Rising  slowly  and  wearily.]  It  was  part  of 
our  compact  that  we  were  to  go  into  society — to 
keep  open  house. 

TESMAN. 

Yes,  if  you  only  knew  how  I  had  been  looking 
forward  to  it !  Fancy— to  see  you  as  hostess — in 
a  select  circle  !  Eh  ?  Well,  well,  well — for  the 
present  we  shall  have  to  get  on  without  society, 
Hedda — only  to  invite  Aunt  Julia  now  and  then. — 
Oh,  I  intended  you  to  lead  such  an  utterly  dif- 
ferent life,  dear ! 

HEDDA. 

Of  course  I  cannot  have  my  man  in  livery  just 
yet. 

TESMAN. 

Oh  no,  unfortunately.  It  would  be  out  of  the 
question  for  us  to  keep  a  footman,  you  know. 

HEDDA. 
And  the  saddle-horse  I  was  to  have  had 


ACT    I.]  HEDDA    GABLER.  6l 

TESMAN. 
[Aghast.]     The  saddle-horse  ! 

HEDDA. 
1  suppose  I  must  not  think  of  that  now. 

TESMAN. 
Good  heavens,  no ! — that's  as  clear  as  daylight 

HEDDA. 

[Goes  up  the  room.]  Well,  I  shall  have  one 
thing  at  least  to  kill  time  with  in  the  meanwhile. 

TESMAN. 

[Beaming.]  Oh  thank  heaven  for  that !  What 
is  it,  Hedda  ?  Eh  ? 

HEDDA. 

[In  the  middle  doorway,  looks  at  him  with  covert 
scorn.]  My  pistols,  George. 

TESMAN. 
[In  alarm.]     Your  pistols  ! 

HEDDA. 
[With  cold  eyes.]     General  Gabler's  pistols. 

[She  goes  out  through  the  inner  room,  to 
the  left. 

TESMAN. 

[Rushes  up  to  the  middle  doorway  and  calls  after 
her :]  No,  for  heaven's  sake,  Hedda  darling — 
don't  touch  those  dangerous  things  !  For  my 
sake,  Hedda  !  Eh  ? 


ACT  SECOND 

The  room  at  ike  TESMANS'  as  in  the  first  Act,  except 
that  the  piano  has  been  removed,  and  an  elegant 
little  writing-table  with  book-shelves  put  in  its 
place.  A  smaller  table  stands  near  the  sofa  on 
the  left.  Most  of  the  bouquets  have  been  taken 
away.  MRS.  ELVSTED'S  bouquet  is  upon  the 
large  table  in  front. — It  is  afternoon. 

HEDDA,  dressed  to  receive  callers,  is  alone  in  the 
iriom.  She  stands  by  the  open  glass  door,  loading 
a  revolver.  The  felloiv  to  it  lies  in  an  open 
pistol-case  on  the  writing-table. 

HEDDA. 

[Looks  down  the  garden,  and  calls  .•]     So  you  are 
here  again,  Judge  ! 

BRACK. 

[/*  heard   calling  from  a  distance.]     As  you  see, 
Mrs.  Tesman ! 

HEDDA. 

[Raises  the  pistol  and  points.]  Now  I'll  shoot  you, 
Judge  Brack  ! 

BRACK. 

[Calling  unseen.]      No,    no,   no !     Don't   stand 
aiming  at  me  ! 

HEDDA. 

This  is  what  comes  of  sneaking  in  by  the  back 
way.1  [She  fires. 

1  "  Bagveje  "   means   both   "  back  ways  "  and  "  underhand 
courses. " 


ACT  II.]  HEDDA   OABLER.  63 

BRACK. 
[Nearer.]     Are  you  out  of  your  senses ! 

HEDDA. 
Dear  me — did  I  happen  to  hit  you  ? 

BRACK. 

[Still  outside.]  I  wish  you  would  let  these  pranks 
alone ! 

HEDDA. 
Come  in  then,  Judge. 

JUDGE  BRACK,  dressed  as  though  for  a  men's  party, 
enters  by  the  glass  door.  He  carries  a  light 
overcoat  over  his  arm. 

BRACK. 

What  the  deuce — haven't  you  tired  of  that 
sport,  yet  ?  What  are  you  shooting  at  ? 

HEDDA. 
Oh,  I  am  only  firing  in  the  air. 

BRACK. 

[Gently  takes  the  pistol  out  of  her  hand.]  Allow 
me,  madam  !  [Looks  at  it.]  Ah — I  know  this  pistol 
well !  [Looks  around.]  Where  is  the  case  ?  Ah, 
here  it  is.  [Lays  the  pistol  in  it,  and  shuts  it.] 
Now  we  won't  play  at  that  game  any  more  to-day. 

HEDDA. 

Then  what  in  heaven's  name  would  you  have 
me  do  with  myself? 

BRACK. 
Have  you  had  no  visitors  ? 


64  HEDDA   GABLER.  [ACT  II. 

HEDDA. 

[Closing  the  glass  door.]  Not  one.  I  suppose  all 
our  set  are  still  out  of  town. 

BRACK. 
And  is  Tesman  not  at  home  either  ? 

HEDDA. 

[At  the  writing-table,  putting  the  pistol-case  in  a 
drawer  which  she  shutsJ\  No.  He  rushed  off  to  his 
aunt's  directly  after  lunch  ;  he  didn't  expect  you 
so  early. 

BRACK. 

H'm — how  stupid  of  me  not  to  have  thought  of 
that! 

HEDDA. 
[Turning  her  head  to  look  at  him.]     Why  stupid  ? 

BRACK. 

Because  if  I  had  thought  of  it  I  should  have 
come  a  little — earlier. 

HEDDA. 

[Crossing  the  room.]  Then  you  would  have  found 
no  one  to  receive  you  ;  for  I  have  been  in  my  room 
changing  my  dress  ever  since  lunch. 

BRACK. 

And  is  there  no  sort  of  little  chink  that  we  could 
hold  a  parley  through  ? 

HEDDA. 
You  have  forgotten  to  arrange  one. 

BRACK. 
That  was  another  piece  of  stupidity. 


ACT  II.]  HEDDA  GABLER.  6.5 

HEDDA. 

Well,  we  must  just  settle  down  here  — and  wait. 
Tesman  is  not  likely  to  be  back  for  some  time  yet. 

'BRACK. 

Never  mind ;  I  shall  not  be  impatient. 

HEDDA  seats  herself  in  the  corner  of  the  sofa. 
BRACK  lays  his  overcoat  over  the  back  of  the 
nearest  chair,  and  sits  down,  but  keeps  his  hat  in 
his  hand.  A  short  silence.  They  look  at  each 
other. 

HEDDA. 
Well? 

BRACK. 
[In  the  same  tone.]     Well  ? 

HEDDA 
I  spoke  first. 

BRACK. 

[Bending  a  little  forward.]     Come,  let  us  have 
cosy  little  chat,  Mrs.  Hedda.1 

HEDDA. 

[Leaning  further  back  in  the  sofa.\  Does  it 
not  seem  like  a  whole  eternity  since  our  last 
talk  ?  Of  course  I  don't  count  those  few  words 
yesterday  evening  and  this  morning. 

BRACK. 

You  mean  since  our  last  confidential  talk  ?  Our 
last  tete-a-tete  ? 

1  As  this  form  of  address  is  contrary  to  English  usage,  and  as 
the  note  of  familiarity  would  be  lacking  in  "Mrs.  Tesman," 
Brack  may,  in  stage  representation,  say  "Miss  Hedda,"  thus 
ignoring  her  marriage  and  reverting  to  the  form  of  address  no 
doubt  customary  between  them  of  old. 

E 


66  HEDDA  GABLER.  [ACT  II. 

HEDDA. 
Well  yes — since  you  put  it  so. 

BRACK. 

Not  a  day  has  passed  but  I  have  wished  that  you 
were  home  again. 

HEDDA. 

And  I  have  done  nothing  bujt  wish  the  same 
thing. 

BRACK. 

You  ?  Really,  Mrs.  Hedda  ?  And  I  thought 
you  had  been  enjoying  your  tour  so  much  ! 

HEDDA. 
Oh  yes,  you  may  be  sure  of  that ! 

BRACK. 

But  Tesman's  letters  spoke  of  nothing  but  hap- 
piness. 

HEDDA. 

Oh,  Tesman!  You  see,  he  thinks  nothing 
so  delightful  as  grubbing  in  libraries  and  making 
copies  of  old  parchments,  or  whatever  you  call 
them. 

BRACK. 

[With  a  spice  of  malice. ]  Well,  that  is  his 
vocation  in  life — or  part  of  it  at  any  rate. 

HEDDA. 
Yes,  of  course  ;  and  no  doubt  when  it's  your 

vocation -.     But//     Oh,  my  dear  Mr.  Brack, 

how  mortally  bored  I  have  been. 


ACT  II.]  HEDDA   OABLER.  67 

BRACK. 

[Sympathetically.]      Do  you   really  say  so  ?     In 
downright  earnest  ? 

HEDDA 

Yes,  you  can  surely  understand  it !     To  go 

for  six  whole  months  without  meeting  a  soul  that 
knew  anything  of  our  circle,  or  could  talk  about 
the  things  we  are  interested  in. 

BRACK. 
Yes,  yes — I  too  should  feel  that  a  deprivation. 

HEDDA. 
And  then,  what  I   found   most    intolerable  of 

all 

BRACK. 
Well  ? 

HEDDA. 

— was  being  everlastingly  in  the  company  of 
— one  and  the  same  person 


BRACK. 

[With    a  nod  oj    assent.]     Morning,  noon,   and 
night,  yes — at  all  possible  times  and  seasons. 

HEDDA. 
I  said  "  everlastingly." 

BRACK. 

Just  so.     But  I  should  have  thought,  with  our 
excellent  Tesman,  one  could 


HEDDA. 
Tesman  is  —a  specialist,  my  dear  Judge. 


68  HEDDA  GABLER.  [ACT  11. 

BRACK. 
Undeniably. 

HEDDA. 

And  specialists  are  not  at  all  amusing  to  travel 
with.  Not  in  the  long  run  at  any  rate. 

BRACK. 
Not  even — the  specialist  one  happens  to  love  ? 

H  EDDA. 
Faugh — don't  use  that  sickening  word  : 

BRACK. 
[  Taken  aback.]    What  do  you  say,  Mrs.  Hedda  ? 

HEDDA. 

[Half  laughing,  half  irritated.]  You  should 
just  try  it  !  To  hear  of  nothing  but  the  history  of 
civilisation,  morning,  noon,  and  night 

BRACK. 
Everlastingly. 

HEDDA. 
Yes   yes   yes !     And   then    all    this  about  the 

domestic  industry  of  the  middle  ages !    That's 

the  most  disgusting  part  of  it ! 

BRACK. 
[Looks    searchingly   at    her.]     But    tell    me — in 

that    case,    how  am   I   to  understand    your ? 

H'm 

HEDDA. 
My  accepting  George  Tesman,  you  mean  ? 

BRACK. 
Well,  let  us  put  it  so. 


ACT  Il.J  HEDDA  GABLER  69 

HEDDA. 

Good  heavens,  do  you  see  anything  so  wonderful 
in  that  ? 

BRACK. 
Yes  and  no — Mrs.  Hedda. 

HEDDA. 

I  had  positively  danced  myself  tired,  my  dear 
Judge.  My  day  was  done—  [With  a  slight 
shudder.~\  Oh  no — 1  won't  say  that ;  nor  think  it 
either  ! 

BRACK. 
You  have  assuredly  no  reason  to. 

HEDDA. 

Oh,  reasons —  [Watching  him  closely  J\  And 
George  Tesman — after  all,  you  must  admit  that  he 
is  correctness  itself. 

BRACK. 

His  correctness  and  respectability  are  beyond 
all  question. 

HEDDA. 

And  I  don't  see  anything  absolutely  ridiculous 
about  him. — Do  you  ? 

BRACK. 
Ridiculous?     N — no — I    shouldn't  exactly  say 

so 

HEDDA. 

Well — and  his  powers  of  research,  at  all  events, 
are  untiring. — I  see  no  reason  why  he  should  not 
one  day  come  to  the  front,  after  all. 

BRACK. 

[Isooks  at  her  hesitatingly .]   I  thought  that  you,  like 


70  HEDDA    GABLER.  [ACT    II. 

every  one  else,  expected  him  to  attain  the  highest 
distinction. 

HEDDA. 

\Wiih  an  expression  of  fatigue.}  Yes,  so  I  did. 
—And  then,  since  he  was  bent,  at  all  hazards,  on 
being  allowed  to  provide  for  me — I  really  don't 
know  why  I  should  not  have  accepted  his  offer  ? 

BRACK. 
No — if  you  look  at  it  in  that  light 

HEDDA. 

It  was  more  than  my  other  adorers  were 
prepared  to  do  for  me,  my  dear  Judge. 

BRACK. 

[Laughing.]  Well,  I  can't  answer  for  all  the  rest ; 
but  as  for  myself,  you  know  quite  well  that  I  have 
always  entertained  a — a  certain  respect  for  the 
marriage  tie — for  marriage  as  an  institution,  Mrs. 
Hedda. 

HEDDA. 

[Jestingly.]  Oh,  I  assure  you  I  have  never 
cherished  any  hopes  with  respect  to  you. 

BRACK. 

All  I  require  is  a  pleasant  and  intimate  interior, 
where  I  can  make  myself  useful  in  every  way,  and 
am  free  to  come  and  go  as — as  a  trusted  friend 

HEDDA. 
Of  the  master  of  the  house,  do  you  mean  ? 

BRACK. 

[Bowing.]  Frankly — of  the  mistress  first  of  all ; 
but  of  course  of  the  master  too,  in  the  second 


ACT    II.]  HEDDA    GABLEtt.  7l 

place.  Such  a  triangular  friendship — if  I  may  call 
it  so — is  really  a  great  convenience  for  all  parties, 
let  me  tell  you. 

HEDDA. 

Yes,  I  have  many  a  time  longed  for  some  one  to 
make  a  third  on  our  travels.  Oh — those  railway- 
carriage  tete-a-tetes ! 

BRACK. 
Fortunately  your  wedding  journey  is  over  now. 

HEDDA. 

[Shaking  her  head.]  Not  by  a  long — long  way. 
I  have  only  arrived  at  a  station  on  the  line. 

BRACK. 

Well,  then  the  passengers  jump  out  and  move 
about  a  little,  Mrs.  Hedda. 

HEDDA. 
I  never  jump  out. 

BRACK. 
Really  ? 

HEDDA, 

No — because  there  is  always  some  one  standing 
by  to — 

BRACK. 

[Laughing.']  To  look  at  your  ankles,  do  you 
mean  ? 

HEDDA. 
Precisely. 

BRACK. 
Well  but,  dear  me 

HEDDA. 
[With  a  gesture  of  repulsion.]     I  won't  have  it. 


72  HEDDA    GABLER.  [ACT    II 


I  would  rather  keep  my  seat  where  I  happen  to  be 
— and  continue  the  tete-a-tete. 

BRACK. 

But  suppose  a  third  person  were  to  jump  in  and 
join  the  couple. 

HEDDA. 
Ah — that  is  quite  another  matter  ! 

BRACK. 
A  trusted,  sympathetic  friend 

HEDDA. 

with  a  fund  of  conversation  on  all   sorts  of 

lively  topics 

BRACK. 

— and  not  the  least  bit  of  a  specialist ! 

HEDDA. 

[With  an  audible  sigh.]     Yes,  that  would  be  a 
relief  indeed. 

BRACK. 

[Hears  the  front  door  open,  and  glances  in  that 
direction.]     The  triangle  is  completed. 

HEDDA. 
[Half  aloud.]     And  on  goes  the  train. 

GEORGE  TESMAN,  in  a  grey  walking- suit,  with  a  soft 
felt  hat,  enters  from  the  hall.  He  has  a  number 
of  unbound  books  under  his  arm  and  in  his 
pockets. 

TESMAN. 

[Goes  up   to  the  table  beside   the   corner   settee.] 
Ouf — what  a  load  for  a  warm  day — all  these  books. 


ACT    II.]  HEDDA    OABLER.  73 

[Lays  them  on  the  table. ,]  I'm  positively  perspiring, 
Hedda.  Hallo — are  you  there  already,  my  dear 
Judge  ?  Eh  ?  Berta  didn't  tell  me. 

BRACK. 
[Rising.]     I  came  in  through  the  garden. 

HEDDA. 
What  books  have  you  got  there  ? 

TESMAN. 

[Stands  looking  them  through.]  Some  new  books 
on  my  special  subjects — quite  indispensable  to 
me. 

HEDDA. 
Your  special  subjects  ? 

BRACK. 

Yes,  books  on  his  special  subjects,  Mrs.  Tesman. 
[BRACK  and  HEDDA  exchange  a  confidential 
smile. 

HEDDA. 

Do  you  need  still  more  books  on  your  special 
subjects  ? 

TESMAN. 

Yes,  my  dear  Hedda,  one  can  never  have  too 
many  of  them.  Of  course  one  must  keep  up  with 
all  that  is  written  and  published. 

HEDDA. 
Yes,  I  suppose  one  must. 

TESMAN. 

[Searching  among  his  books.]  And  look  here — 
I  have  got  hold  of  Eilert  Lovborg's  new  book  too. 


74  HEDDA     OABLER.  [ACT    11. 

[Offering  it   to  her]     Perhaps  you  would  like  to 
glance  through  it,  Hedda  ?     Eh  ? 

HEDDA. 
No,  thank  you.  Or  rather — afterwards  perhaps. 

TESMAN. 
I  looked  into  it  a  little  on  the  way  home. 

BRACK. 
Well,  what  do  v  ou  think  of  it — as  a  specialist  ? 

TESMAN. 

I  think  it  shows  quite  remarkable  soundness  of 
judgment.  He  never  wrote  like  that  before. 
[Putting  the  books  together.]  Now  I  shall  take 
all  these  into  my  study.  I'm  longing  to  cut 

the   leaves !     And   then   I  must  change   my 

clothes.     [To  BRACK.]    I  suppose  we  needn't  start 
just  yet  ?     Eh  ? 

BRACK. 

Oh,  dear  110 — there  is  not  the  slightest  hurry. 

TESMAN. 

Well  then,  I  will  take  my  time.  [Is  going  with 
his  books,  but  stops  in  the  doorway  and  turns.]  By- 
the-bye,  Hedda — Aunt  Julia  is  not  coming  this 
evening. 

HEDDA. 

Not  coming  ?  Is  it  that  affair  of  the  bonnet 
that  keeps  her  away  ? 

TESMAN. 
Oh,  not  at  all.     How  could  you   think   such  a 

thing  of  Aunt  Julia  ?     Just  fancy !     The  fact 

is,  Aunt  Rina  is  very  ill. 


ACT    11.]  HEDDA    GABLER.  75 


HEDDA. 
She  always  is. 

TESMAN. 

Yes,  but  to-day  she  is  much  worse  than  usual, 
poor  dear. 

HEDDA. 

Oh,  then  it's  only  natural  that  her  sister  should 
remain  with  her.  1  must  bear  my  disappoint- 
ment. 

TESMAN, 

And  you  can't  imagine,  dear,  how  delighted 
Aunt  Julia  seemed  to  be — because  you  had  come 
home  looking  so  flourishing  ! 

HEDDA. 

[Half  aloud,  rising.']  Oh,  those  everlasting 
Aunts  ! 

TESMAN. 
What  ? 

HEDDA. 
[Going  to  the  glass  door.]     Nothing. 

TESMAN. 
Oh,  all  right. 

[He  goes  through  the  inner  room,  out  to  (he 
right. 

BRACK. 
What  bonnet  were  you  talking  about  ? 

HEDDA. 

Oh,  it  was  a  little  episode  with  Miss  Tesmau 
this  morning.  She  had  laid  down  her  bonnet  on 
the  chair  there — [Looks  at  him  and  smiles.] — and  I 
pretended  to  think  it  was  the  servant's. 


76  HEDDA  OABLER.  [ACT  II. 

BRACK. 

[Shaking  his  head.]  Now  my  dear  Mrs.  Hedda. 
how  could  you  do  such  a  thing  ?  To  that  excel- 
lent old  lady,  too  ! 

HEDDA. 

[Nervously  crossing  the  room]  Well,  you  see — 
these  impulses  come  over  me  all  of  a  sudden  ;  and 
I  cannot  resist  them.  [Throws  herself  doivn  in 
the  easy-chair  by  the  stove.]  Oh,  1  don't  know  how 
to  explain  it. 

BRACK. 

[Behind  the  easy-chair.]  You  are  not  really 
happy — that  is  at  the  bottom  of  it. 

HEDDA. 

[Looking  straight  before  her]  I  know  of  no 
reason  why  I  should  be — happy.  Perhaps  you  can 
give  me  one  ? 

BRACK. 

Well — amongst  other  things,  because  you  have 
got  exactly  the  home  you  had  set  your  heart  on. 

HEDDA. 

[Looks  up  at  him  and  laughs.]  Do  you  too  believe 
in  that  legend  ? 

BRACK. 
Is  there  nothing  in  it,  then  ? 

HEDDA. 
Oh  yes,  there  is  something  in  it. 

BRACK. 
Well  ? 


ACT    II.]  HEDDA     GABLER.  77 

H  EDDA. 

There  is  this  in  it,  that  I  made  use  of  Tesman 
to  see  me  home  from  evening  parties  last  sum- 
mer  

BRACK. 

I,  unfortunately,  had  to  go  quite  a  different 
way. 

HEDDA. 

That's  true.  I  know  you  were  going  a  different 
way  last  summer. 

BRACK. 

[Laughing.]  Oh  fie,  Mrs.  Hedda  !  Well,  then 
— you  and  Tesman ? 

HEDDA. 

Well,  we  happened  to  pass  here  one  evening ; 
Tesman,  poor  fellow,  was  writhing  in  the  agony 
of  having  to  find  conversation ;  so  I  took  pity  on 
the  learned  man — 

BRACK. 
[Smiles  doubtfully.]    You  took  pity?     H'm — 


HEDDA. 

Yes,  I  really  did.  And  so — to  help  him  out  of 
his  torment— I  happened  to  say,  in  pure  thought- 
lessness, that  I  should  like  to  live  in  this  villa. 

BRACK. 
No  more  than  that  ? 

HEDDA. 

Not  that  evening. 

BRACK. 
But  afterwards  ? 


78  HEDDA  GABLER.  [ACT  II. 

HEDDA. 

Yes,  my  thoughtlessness  had  consequences,  my 
dear  Judge. 

BRACK. 

Unfortunately  that  too  often  happens,  Mrs. 
Hedcla. 

HEDDA. 

Thanks !  So  you  see  it  was  this  enthusiasm 
for  Secretary  Falk's  villa  that  first  constituted  a 
bond  of  sympathy  between  George  Tesman  and 
me.  From  that  came  our  engagement  and  our 
marriage,  and  •  our  wedding  journey,  and  all  the 
rest  of  it.  Well,  well,  my  dear  Judge — as  you 
make  your  bed  so  you  must  lie,  I  could  almost 
say. 

BRACK. 

This  is  exquisite !  And  you  really  cared  not  a 
rap  about  it  all  the  time  ? 

HEDDA. 
No,  heaven  knows  I  didn't. 

BRACK. 

But  now  ?  Now  that  we  have  made  it  so 
homelike  for  you  ? 

HEDDA. 

Uh — the  rooms  all  seem  to  smell  of  lavender 
and  dried  rose-leaves. —  But  perhaps  it's  Aunt  Julia 
that  has  brought  that  scent  with  her. 

BRACK. 

[laughing.]  No,  I  think  it  must  be  a  legacy 
from  the  late  Mrs.  Secretary  Falk. 


ACT  II.]  HEDDA  GABLER.  79 

HEDDA. 

Yes,  there  is  an  odour  of  mortality  about  it.  It 
reminds  me  of  a  bouquet — the  day  after  the  ball. 
[Clasps  her  hands  behind  her  head,  leans  back  in  her 
chair  and  looks  at  *.MW.]  Oh,  my  dear  Judge 
— you  cannot  imagine  how  horribly  I  shall  bore 
myself  here. 

BRACK. 

Why  should  not  you,  too,  find  some  sort  of 
vocation  in  life,  Mrs.  Hedda  ? 

HEDDA. 
A  vocation — that  should  attract  me  ? 

BRACK. 
If  possible,  of  course. 

HEDDA. 

Heaven  knows  what  sort  of  a  vocation  that 
could  be.  I  often  wonder  whether —  [Break- 
ing off.]  But  that  would  never  do  either. 

BRACK. 
Who  can  tell  ?     Let  me  hear  what  it  is. 

HEDDA. 

Whether  I  might  not  get  Tesman  to  go  into 
politics,  I  mean. 

BRACK. 

[Laughing.']  Tesman  ?  No  really  now,  political 
life  is  not  the  thing  for  him — not  at  all  in  his 
line. 

HEDDA. 

No,  I  daresay  not. — But  if  I  could  get  him  into 
it  all  the  same  ? 


80  HEDDA  GABLER.  [ACT  II. 

BRACK. 

Why — what  satisfaction  could  you  find  in  that  ? 
If  he  is  not  fitted  for  that  sort  of  thing,  why 
should  you  want  to  drive  him  into  it  ? 

HEDDA. 

Because  I  am  bored,  I  tell  you  !  [After  a  pause.] 
So  you  think  it  quite  out  of  the  question  that 
Tesman  should  ever  get  into  the  ministry  ? 

BRACK. 

H'm — you  see,  my  dear  Mrs.  Hedda — to  get 
into  the  ministry,  he  would  have  to  be  a  tolerably 
rich  man. 

HEDDA. 

[Rising  impatiently .]  Yes,  there  we  have  it ! 
It  is  this  genteel  poverty  I  have  managed  to  drop 

into !     [Crosses    the    room.]     That    is    what 

makes  life  so  pitiable  !     So  utterly  ludicrous  ! — 
For  that's  what  it  is. 

BRACK. 
Now  /  should  say  the  fault  lay  elsewhere. 

HEDDA. 
Where,  then  ? 

BRACK. 

You  have  never  gone  through  any  really  stimu- 
lating experience. 

HEDDA. 
Anything  serious,  you  mean  ? 

BRACK. 

Yes,  you  may  call  it  so.  But  now  you  may 
perhaps  have  one  in  store. 


ACT  II.]  HEDDA  GABLER  81 

HEDDA. 

[Tossing  her  head.]  Oh,  you're  thinking  of  the 
annoyances  about  this  wretched  professorship  ' 
But  that  must  be  Tesman's  own  affair.  I  assure 
you  I  shall  not  waste  a  thought  upon  it. 

BRACK. 

No,  no,  I  daresay  not.  But  suppose  now  that 
what  people  call — in  elegant  language — a  solemn 
responsibility  were  to  come  upon  you  ?  [Smiling.  J 
A  new  responsibility,  Mrs.  Hedda  ? 

HEDDA. 

[Angrily.]  Be  quiet !  Nothing  of  that  sort  will 
ever  happen  ! 

BRACK. 

[Warily.]  We  will  speak  of  this  again  a  year 
hence— at  the  very  outside. 

HEDDA. 

[Curtly.]  1  have  no  turn  for  anything  of  the 
sort,  Judge  Brack.  No  responsibilities  for  me  ! 

BRACK. 

Are  you  so  unlike  the  generality  of  women  as 
to  have  no  turn  for  duties  which ? 

HEDDA. 

[Beside  the  glass  door.]  Oh,  be  quiet,  I  tell  you  ! 
—I  often  think  there  is  only  one  thing  in  the 
world  I  have  any  turn  for. 

BRACK. 

[Drawing  near  to  her.]     And  what  is   that,  if 
may  ask  ? 

x  P 


82  HEDDA   GABLER.  [ACT  ii. 

HEDDA. 

[Stands  looking  out.]  Boring  myself  to  death. 
Now  you  know  it.  [Turns,  looks  towards  the  inner 
room,  and  laughs. \  Yes,  as  I  thought '  Here  comes 
the  Professor. 

BRACK. 

[Softly,  in  a  tone  of  warning.]  Come,  come, 
come,  Mrs.  Hedda  ' 

GEORGE  TESMAN,  dressed  for  the  party,  with  Ins  gloves 
and  hat  in  his  hand,  enters  Jrom  the  nghl  through 
the  inner  room, 

TESMAN. 

Hedda,  has  no  message  come  from  Eilert  Lov- 
borg  ?  Eh  ? 

HEDDA. 
No. 

TESMAN 
Then  you'll  see  he'll  be  here  presently. 

BRACK. 
Do  you  really  think  he  will  come  ? 

TESMAN. 

Yes,  I  am  almost  sure  of  it.  For  what  you  were 
telling  us  this  morning  must  have  been  a  mere 
floating  rumour. 

BRACK. 
You  think  so  ? 

TESMAN. 

At  any  rate,  Aunt  Julia  said  she  did  not  believe 
for  a  moment  that  he  would  ever  stand  in  my  way 
again.  Fancy  that  ! 


ACT  II.]  HEDDA    GABLER.  83 

BRACK. 
Well  then,  that's  all  right. 

TESMAN. 

[Placing  his  hat  and  gloves  on  a  chair  on  the  right.] 
Yes,  but  you  must  really  let  me  wait  for  him  as 
long  as  possible. 

BRACK. 

We  have  plenty  of  time  yet.  None  of  my 
guests  will  arrive  before  seven  or  half- past. 

TESMAN. 

Then  meanwhile  we  can  keep  Hedda  company, 
and  see  what  happens.  Eh  ? 

HEDDA. 

[Placing  BRACK'S  hat  and  overcoat  upon  the  corner 
settee.]  And  at  the  worst  Mr.  Lovborg  can  remain 
here  with  me. 

BRACK. 

[Offering  to  take  his  things.}  Oh,  allow  me,  Mrs. 
Tesman  ! — What  do  you  mean  by  "At  the  worst "  ? 

HEDDA. 
If  he  won't  go  with  you  and  Tesman. 

TESMAN. 

[Looks  dubiously  at  her.]  But,  Hedda  dear — do 
you  think  it  would  quite  do  for  him  to  remain 
with  you?  Eh?  Remember,  Aunt  Julia  can't  come. 

HEDDA. 

No,  but  Mrs.  Elvsted  is  coming.  We  three  can 
have  a  cup  of  tea  together. 


84  HEDDA    GABLER.  [ACT    II. 


TESMAN. 

Oh  yes,  that  will  be  all  right. 

BRACK. 

[Smiling.]  And  that  would  perhaps  be  the 
safest  plan  for  him. 

HEDDA. 
Why  so  ? 

BRACK. 

Well,  you  know,  Mrs.  Tesman,  how  you  used  to 
gird  at  my  little  bachelor  parties.  You  declared 
they  were  adapted  only  for  men  of  the  strictest 
principles. 

HEDDA. 

But  no  doubt  Mr.  Lovborg's  principles  are  strict 
enough  now.  A  converted  sinner — 

[BERTA  appears  at  the  hall  door. 

BERTA. 

There's  a  gentleman  asking  if  you  are  at  home, 
ma'am — 

HEDDA. 
Well,  show  him  in. 

TESMAN. 
[Softly.]     I'm  sure  it  is  he  !     Fancy  that! 

EILERT  LOVBORG  enters  from  the  hall.  He  is  slim 
and  If  an  ;  of  the  same  age  as  TESMAN,  but  looks 
older  and  somewhat  worn-out.  His  hair  and 
beird  are  of  a  blackish  brown,  his  face  long  and 
pale,  but  with  patches  of  colour  on  the  cheek- 
bones. He  is  dressed  in  a  well-cut  black  visiting 
suit,  quite  new.  He  has  dark  gloves  and  a  silk 
hat.  He  stops  near  the  door,  and  makes  a  rapid 
bow,  seeming  somewhat  embarrassed. 


ACT  II.]  HEDDA   GABLER.  85 

TESMAN. 

[Goes  up  to  him  and  shakes  him  warmly  by  the 
hand.]  Well,  my  dear  Eilert — so  at  last  we  meet 
again ! 

EILERT  LOVBORG. 

[Speaks  in  a  subdued  voice.]  Thanks  for  your 
letter,  Tesman.  [Approaching  HEDDA.]  Will  you 
too  shake  hands  with  me,  Mrs.  Tesman  ? 

HEDDA. 

[Talcing  his  hand.]  I  am  glad  to  see  you,  Mr. 
Lovborg  \With  a  motion  of  her  hand.]  I  don't 
know  whether  you  two  gentlemen ? 

LOVBORG. 
[Boiving  slightly.]     Judge  Brack,  I  think. 

BRACK. 
[Doing  likewise.]     Oh  yes, — in  the  old  days 

TESMAN. 

[To  LOVBORG,  with  his  hands  on  his  shoulders.] 
And  now  you  must  make  yourself  entirely  at 
home,  Eilert !  Musn't  he,  Hedda  ? — For  I  hear 
you  are  going  to  settle  in  town  again  ?  Eh  ? 

LOVBORG. 
Yes,  I  am. 

TESMAN. 

Quite  right,  quite  right.  Let  me  tell  you,  I 
have  got  hold  of  your  new  book ;  but  I  haven't 
had  time  to  read  it  yet. 

LOVBORG. 
You  may  spare  yourself  the  trouble. 


86  HEDDA   GABLE  R.  [ACT  II. 

TESMAN. 
Why  so  ? 

LOVBORG. 
Because  there  is  very  little  in  it. 

TESMAN. 
Just  fancy — how  can  you  say  so? 

BRACK. 
But  it  has  been  very  much  praised,  I  hear. 

LOVBORG. 

That  was  what  I  wanted  ;  so  I  put  nothing  into 
the  book  but  what  every  one  would  agree  with. 

BRACK. 
Very  wise  of  you. 

TESMAN. 
Well  but,  my  dear  Eilert .' 

LOVBORG. 

For  now  I  mean  to  win  myself  a  position  again 
— to  make  a  fresh  start. 

TESMAN. 

[A  little  embarrassed.]  Ah,  that  is  what  you  wish 
to  do  ?  Eh  ? 

LOVBORG. 

[Smiling,  lays  down  his  hat,  and  draws  a  packet, 
wrapped  in  paper,  from  his  coat  pocket]  But 
when  this  one  appears,  George  Tesman,  you  will 
have  to  read  it.  For  this  is  the  real  book — the 
book  I  have  put  my  true  self  into. 

TESMAN. 
Indeed  ?  And  what  is  it  ? 


ACT    II.]  HEDDA     OABLER.  8? 

LoVBORG. 

It  is  the  continuation. 

TESMAN. 
The  continuation  ?     Of  what  ? 

LOVBORO. 
Of  the  book. 

TESMAN 
Of  the  new  book  ? 

LOVBORO. 
Of  course 

TESMAN. 

Why,  my  dear  Eilert — does  it  not  come  down 
to  our  own  days  ? 

LOVBORC. 
Yes,  it  does;  and  this  one  deals  with  the  future. 

TESMAN. 

With  the  future  !  But,  good  heavens,  we  know 
nothing  of  the  future  ! 

LOVBORG. 

No ;  but  there  is  a  thing  or  two  to  be  said 
about  it  all  the  same.  [Opens  the  packet.}  Look 
here — 

TESMAN. 
Why,  that's  not  your  handwriting. 

LOVBORG. 

I  dictated  it.     [Turning over  the  pages.]     It  falls 
into  two  sections.     The  first  deals  with  the  civilis- 
ing forces  of  the  future.     And  here  is  the  second 
-  [running  through  the  pages  towards  the  end] — fore- 
casting the  probable  line  of  development. 


88  HEDDA   GABLER.  [ACT  II. 

TESMAN. 

How  odd  now  '  I  should  never  have  thought 
of  writing  anything  of  that  sort. 

HEDDA 

[At  Ike  glass  door,  drumming  on  the  pane.] 
H'm .  I  daresay  not. 

LOVBORG. 

[Replacing  the  manuscript  in  its  paper  and  laying 
the  packet  on  the  table.]  I  brought  it,  thinking  1 
might  read  you  a  little  of  it  this  evening. 

TESMAN. 
That  was  very  good  of  you,  Eilert.     But  this 

evening ?     [Looking  at  BRACK.]     1  don't  quite 

see  how  we  can  manage  it • 

LOVBORG. 
Well  then,  some  other  time.     There  is  no  hurry. 

BRACK. 

I  must  tell  you,  Mr.  Lovborg — there  is  a  little 
gathering  at  my  house  this  evening — mainly  in 
honour  of  Tesman,  you  know — 

LOVBORG. 
[Looking  for  his  liat.~\     Oh — then  I  won't  detain 

you 

BRACK. 

No,  but  listen — will  you  not  do  me  the  favour 
of  joining  us  ? 

LOVBORG. 

[Curtly  and  decidedly.]  No,  I  can't — thank  you 
very  much. 


ACT  II.]  UK.  1)1)  \    GABLER.  89 

BRACK. 

Oh,  nonsense — do  !  We  shall  be  quite  a  select 
little  circle.  And  I  assure  you  we  shall  have  a 
"  lively  time,"  as  Mrs.  Hed — as  Mrs.  Tesman  says. 

LOVBORG. 
I  have  no  doubt  of  it.     But  nevertheless 

BRACK. 

And  then  you  might  bring  your  manuscript 
with  you,  and  read  it  to  Tesman  at  my  house.  I 
could  give  you  a  room  to  yourselves. 

TESMAN. 

Yes,  think  of  that,  Eilert, — why  shouldn't  you  ? 
Eh? 

HEDDA. 

[Interposing.]  But,  Tesman,  if  Mr.  Lovborg 
would  really  rather  not !  I  am  sure  Mr.  Lovborg 
is  much  more  inclined  to  remain  here  and  have 
supper  with  me. 

LOVBORG. 
[Looking  at  her.]     With  you,  Mrs.  Tesman  ? 

HEDDA. 
And  with  Mrs.  Elvsted. 

LOVBORG. 

Ah [Lightly.]     I  saw  her  for  a  moment 

this  morning. 

HEDDA. 

Did  you  ?  Well,  she  is  coming  this  evening. 
So  you  see  you  are  almost  bound  to  remain,  Mr. 
Lovborg,  or  she  will  have  no  one  to  see  her  home. 


90  HEDDA    GABLER.  [ACT  II. 

LOVBORG. 

That's  true.     Many   thanks,   Mrs.   Tesman — in 
that  case  I  will  remain. 

HEDDA. 
Then  I  have  one  or  two  orders  to  give   the 


servant- 


[She  goes  to  tlie  hall  door  and  rings.  BERTA 
enters.  HEDDA  talks  to  her  in  a  whisper, 
and  points  towards  the  inner  room.  BERTA 
nods  and  goes  out  again. 

TESMAN. 

[At  the  same  time,  to  LOVBORG.]  Tell  me,  Eilert 
— is  it  this  new  subject — the  future — that  you  are 
going  to  lecture  about  ? 

LOVBORG. 
Yes. 

TESMAN. 

They  told  me  at  the  bookseller's  that  you  are 
going  to  deliver  a  course  of  lectures  this  autumn. 

LOVBORG. 

That  is  my  intention.  I  hope  you  won't  take 
it  ill,  Tesman. 

TESMAN. 
Oh  no,  not  in  the  least !     But ? 


LOVBORG. 

I  can  quite  understand  that  it  must  be  disagree- 
able to  you. 

TESMAN. 

[Cast  down.]     Oh,   I   can't  expect  you,  out  of 
consideration  for  me,  to 


ACT    II.]  HEDDA    GABLER.  91 

Lb'VBORG. 

But  I  shall  wait  till  you  have  received  your 
appointment. 

TESMAN. 

Will  you  wait  ?  Yes  but — yes  but — are  you  not 
going  to  compete  with  me  ?  Eh  ? 

LOVBORO. 
No  ;  it  is  only  the  moral  victory  I  care  for. 

TESMAN. 

Why,  bless  me — then  Aunt  Julia  was  right  after 
all  !  Oh  yes — I  knew  it  !  Hedda  !  Just  fancy 
— Eilert  Lovborg  is  not  going  to  stand  in  our  way ! 

HEDDA. 

[Curtly.]  Our  way?  Pray  leave  me  out  of 
the  question. 

[She  goes  up  towards  the  inner  room,  where 
BERTA  is  placing  a  tray  with  decanters 
and  glasses  on  the  table.  HEDDA  nods 
approval,  and  comes  fonvard  again. 
BERTA  goes  out. 

TESMAN. 

[At  the  same  time.]  And  you,  Judge  Brack — 
what  do  you  say  to  this  ?  Eh  ? 

BRACK. 

Well,  I  say  that  a  moral  victory — h'm — may  be 
all  very  fine — 

TESMAN. 


Yes,  certainly.     But  all  the  same 

HEDDA. 
[Looking  at   TESMAN    with   a   cold  smile.]      You 


92  HEDDA    GABLER.  [ACT    II. 

stand    there    looking   as   if    you    were    thunder- 
struck— 

TESMAN. 
Yes — so  I  am — I  almost  think 


BRACK. 

Don't  you  see,  Mrs.  Tesman,  a  thunderstorm 
has  just  passed  over  ? 

HEDDA. 

[Pointing  towards  the  inner  room.]     Will  you  not 
take  a  glass  of  cold  punch,  gentlemen  ? 

BRACK. 

[Looking  at  his  watch]     A  stirrup-cup  ?     Yes,  it 
wouldn't  come  amiss. 

TESMAN. 

A  capital  idea,  Hedda  !     Just  the  thing  !     Now 
that  the  weight  has  been  taken  off  my  mind 

HEDDA. 
Will  you  not  join  them,  Mr.  Lovborg  ? 

LOVBORG. 

[With    a  gesture   of  refusal.]     No,  thank    you. 
Nothing  for  me. 

BRACK. 
Why  bless  me — cold  punch  is  surely  not  poison. 

LOVBORG. 
Perhaps  not  for  every  one. 

HEDDA. 

I    will     keep    Mr.    Lovborg    company    in    the 
meantime. 


ACT  II.]  HEDDA  GABLER.  93 

TESMAN. 
Yes,  yes,  Hedda  dear,  do. 

[He  and  BRACK  go  into  the  inner  room, 
seat  themselves,  drink  punch,  smoke 
cigarettes,  and  carry  on  a  lively  conversa- 
tion during  what  follows.  EILERT  Lov- 
BORO  remains  standing  beside  the  stove. 
HEDDA  goes  to  the  writing-table. 

HEDDA. 

[Raising  her  voice  m  little*]  Do  you  care  to 
look  at  some  photographs,  Mr.  Lovborg  ?  You 
know  Tesman  and  I  made  a  tour  in  the  Tyrol  on 
our  way  home  ? 

[She  takes  up  an  album,  and  places  it  on 
the  table  beside  the  sofa,  in  the  further 
corner  of  which  she  seats  herself.  EILERT 
LOVBORG  approaches,  stops,  and  looks  at 
her.  Then  he  takes  a  chair  and  seals  him- 
self to  her  left,  with  his  back  towards  the 
inner  room. 

HEDDA. 

[Opening  the  album.]  Do  you  see  this  range  of 
mountains,  Mr.  Lovborg  ?  It's  the  Ortler  group. 
Tesman  has  written  the  name  underneath.  Here 
it  is  :  "  The  Ortler  group  near  Meran." 

LOVBORG. 

[  Who  has  never  taken  his  eyes  off  her,  says  softly 
and  slowly  :]  Hedda — Gabler  ! 

HEDDA. 
[Glancing  hastily  at  him.]     Ah  !     Hush  ! 

LOVBORG. 
[Repeals  softly.]     Hedda  Gabler! 


94  HEDDA  GABLER.  [ACT  II. 

HEDDA. 

[Looking  at  the  album.]  That  was  my  name  in  the 
old  days — when  we  two  knew  each  other. 

LOVBORG. 

And  I  must  teach  myself  never  to  say  Hedda 
Gabler  again — never,  as  long  as  I  live. 

HEDDA. 

[Still  turning  over  the  pages.]  Yes,  you  must. 
And  I  think  you  ought  to  practise  in  time.  The 
sooner  the  better,  I  should  say. 

LOVBORG. 

[In  a  tone  of  indignation.]  Hedda  Gabler  mar- 
ried ?  And  married  to — George  Tesman  ! 

HEDDA. 
Yes — so  the  world  goes. 

LOVBORO. 

Oh,  Hedda,  Hedda — how  could  you1  throw 
yourself  away  ! 

HEDDA. 

[Looks  sharply  at  him.]  What  ?  I  can't  allow 
this  ! 

LOVBORG. 
What  do  you  mean  ? 

[TESMAN    comes   into    the    room    and  goes 
towards  the  sofa. 

HEDDA. 

[Hears  him  coming  and  says  in  an  indifferent  tone.] 
And  this  is  a  view  from  the  Val  d'Ampezzo,  Mr. 

1  He  uses  the  familiar  d*. 


ACT    II.]  HEDDA     GABLER.  95 

Lovborg.  Just  look  at  these  peaks !  [Looks 
affectionately  up  at  TESMAN.]  What's  the  name 
of  these  curious  peaks,  dear  ? 

TESMAN. 
Let  me  see.     Oh,  those  are  the  Dolomites. 

HEDDA. 

Yes,  that's  it  ! — Those  are  the  Dolomites,  Mr. 
Lovborg. 

TESMAN. 

Hedda  dear, — I  only  wanted  to  ask  whether  I 
shouldn't  bring  you  a  little  punch  after  all  ?  For 
yourself  at  any  rate — eh  ? 

HEDDA. 
Yes,  do,  please  ;  and  perhaps  a  few  biscuits. 

TESMAN. 

No  cigarettes  ? 

HEDDA. 
No. 

TESMAN. 
Very  well. 

[He  goes  into  the  inner  room  and  out  to 
the  right.  BRACK  sits  in  the  inner  room, 
and  keeps  an  eye  from  time  to  time  on 
HEDDA  and  LOVBORG. 

LOVBORG. 

[Softly,  as  before.]  Answer  me,  Hedda — how 
could  you  go  and  do  this  ? 

HEDDA. 

[Apparently  absorbed  in  the  album.]  If  you  con- 
tinue to  say  du  to  me  I  won't  talk  to  you. 


96  HEDDA    GABLER.  [ACT    II. 

LOVBORG. 

May  I  not  say  du  even  when  we  are  alone  ? 

HEDDA. 

No.     You  may  think  it ;  but  you  mustn't  say 
it. 

LOVBORG. 

Ah,   I  understand.     It   is  an    offence    against 
George  Tesman,  whom  you1 — love. 

HEDDA. 

[Glances  at  him  and  smiles.]     Love  ?     What  an 
idea  ! 

LOVBORG. 
You  don't  love  him  then  ! 

HEDDA. 

But  I  won't  hear  of  any  sort  of  unfaithfulness ! 
Remember  that. 

LOVBORG. 
Hedda— answer  me  one  thing 


HEDDA. 
Hush! 

[TESMAN  enters  with  a  small  tray  from  the 
inner  room. 

TESMAN. 
Here  you  are  !     Isn't  this  tempting  ? 

[He  puts  the  tray  on  the  table. 

HEDDA. 
Why  do  you  bring  it  yourself  ? 

From  this  point  onward  Lovborg  uses  the  formal  De. 


ACT  II.]  HEDDA  GABLER.  9? 

TESMAN. 

[Filling  the  glasses.]  Because  I  think  it's  such 
fun  to  wait  upon  you,  Hedda. 

HEDDA. 

But  you  have  poured  out  two  glasses.  Mr. 
Lovborg  said  he  wouldn't  have  any 

TESMAN. 

No,  but  Mrs.  Elvsted  will  soon  be  here,  won't 
she? 

HEDDA. 
Yes,  by-the-bye — Mrs.  Elvsted 

TESMAN. 
Had  you  forgotten  her  ?     Eh  ? 

HEDDA. 

We  were  so  absorbed  in  these  photographs. 
[Shows  him  a  picture.]  Do  you  remember  this 
little  village  ? 

TESMAN. 

Oh,  it's  that  one  just  below  the  Brenner  Pass. 
It  was  there  we  passed  the  night 

HEDDA. 
and  met  that  lively  party  of  tourists. 

TESMAN. 

Yes,  that  was  the  place.  Fancy — if  we  could 
only  have  had  you  with  us,  Eilert  !  Eh  ? 

[He  returns  to  the  inner  room  and  sits  beside 
BRACK. 

LOVBORG. 

Answer  me  this  one  thing,  Hedda 

x  o 


98  HEDDA  GABLER.  j^ACT  II. 

HEDDA. 
Well  ? 

LOVBORG. 

Was  there  no  love  in  your  friendship  for  me 
either  ?  Not  a  spark — not  a  tinge  of  love  in 
it? 

HEDDA. 

I  wonder  if  there  was  ?  To  me  it  seems  as 
though  we  were  two  good  comrades — two 
thoroughly  intimate  friends.  [Smilingly.]  You 
especially  were  frankness  itself. 

LOVBORG. 
It  was  you  that  made  me  so. 

HEDDA. 

As  I  look  back  upon  it  all,  I  think  there  was 
really  something  beautiful,  something  fascinating 
— something  daring — in — in  that  secret  intimacy 
— that  comradeship  which  no  living  creature  so 
much  as  dreamed  of. 

LOVBORG. 

Yes,  yes,  Hedda  !  Was  there  not  ? — When  I 
used  to  come  to  your  father's  in  the  afternoon — 
and  the  General  sat  over  at  the  window  reading 
his  papers— with  his  back  towards  us 

HEDDA. 
And  we  two  on  the  corner  sofa 

LOVBORG. 
Always  with  the  same  illustrated  paper  before 


HEDDA. 
For  want  of  an  album,  yes. 


ACT    II.]  HEDDA    GABLER.  99 

LbVBORG. 

Yes,  Hedda,  and  when  I  made  my  confessions 
to  you — told  you  about  myself,  things  that  at  that 
time  no  one  else  knew !  There  I  would  sit  and 
tell  you  of  my  escapades — my  days  and  nights  of 
devilment.  Oh,  Hedda — what  was  the  power  in 
you  that  forced  me  to  confess  these  things  ? 

HEDDA. 
Do  you  think  it  was  any  power  in  me  ? 

LOVBORG. 

How  else  can  I  explain  it  ?  And  all  those — 
those  roundabout  questions  you  used  to  put  to 

me 

HEDDA. 

Which  you  understood  so  particularly  well 

LOVBORG. 

How  could  you  sit  and  question  me  like  that  ? 
Question  me  quite  frankly 

HEDDA. 
In  roundabout  terms,  please  observe. 

LOVBORG. 

Yes,  but  frankly  nevertheless.  Cross-question 
me  about — all  that  sort  of  thing  ? 

HEDDA. 
And  how  could  you  answer,  Mr.  Lovborg  ? 

LOVBORG. 

Yes,  that  is  just  what  I  can't  understand — in 
looking  back  upon  it.  But  tell  me  now,  Hedda — 
was  there  not  love  at  the  bottom  of  our  friend- 


100  HEDDA    GABLER.  [ACT    LI. 

ship  ?  On  your  side,  did  you  not  feel  as  though 
you  might  purge  my  stains  away — if  I  made  you 
my  confessor  ?  Was  it  not  so  ? 

HEDDA. 
No,  not  quite. 

LOVBORG. 
What  was  your  motive,  then  ? 

HEDDA. 

Do  you  think  it  quite  incomprehensible  that  a 
young  girl — when  it    can   be  done — without  any 

one  knowing 

LOVBORG. 
Well  ? 

HEDDA. 

— should  be  glad   to  have  a  peep,  now  and 
then,  into  a  world  which 

LOVBORG. 

Which ? 

HEDDA. 
-"which  she  is  forbidden  to  know  anything 


about  ? 

LOVBORG. 
So  that  was  it  ? 

HEDDA, 
Partly.     Partly — I  almost  think. 

LOVBORG. 

Comradeship   in  the  thirst   for  life.     But  why 
should  not  that,  at  any  rate,  have  continued  ? 

HEDDA. 
The  fault  was  yours. 


ACT    II.]  HEDDA    GABLER.  101 

Lo'VBORG. 

It  was  you  that  broke  with  me. 

HEDDA. 

Yes,  when  our  friendship  threatened  to  develop 
into  something  more  serious.  Shame  upon  you, 
Eilert  Lovborg !  How  could  you  think  of  wrong- 
ing your — your  frank  comrade  ? 

LOVBORG. 

[Clenching  his  hands.]  Oh,  why  did  you  not 
carry  out  your  threat  ?  Why  did  you  not  shoot 
me  down  ? 

HEDDA. 
Because  I  have  such  a  dread  of  scandal. 

LOVBORG. 
Yes,  Hedda,  you  are  a  coward  at  heart. 

HEDDA. 

A  terrible  coward.  [Changing  her  tone.]  But 
it  was  a  lucky  thing  for  you.  And  now  you  have 
found  ample  consolation  at  the  Elvsteds'. 

LOVBORG. 
I  know  what  Thea  has  confided  to  you. 

HEDDA. 

And  perhaps  you  have  confided  to  her  some- 
thing about  us  ? 

LOVBORG. 

Not  a  word.  She  is  too  stupid  to  understand 
anything  of  that  sort. 

HEDDA. 
Stupid  ? 


102  HEDDA    GABLER.  [ACT    II. 

LOVBORG. 

She  is  stupid  about  matters  of  that  sort. 

HEDDA. 

And  1  am  cowardly.  \Bends  over  towards  him, 
without  looking  him  in  the  face,  and  says  more  softly  :] 
But  now  I  will  confide  something  to  you. 

LOVBORG. 
[Eagerly.]     Well  ? 

HEDDA. 
The  fact  that  I  dared  not  shoot  you  down 

LOVBORG. 
Yes! 

HEDDA. 

that  was  not  my  most  arrant  cowardice — 

that  evening. 

LOVBORG. 

[Looks  at  her  a  moment,  understands,  and  whispers 
passionately.]  Oh,  Hedda  !  Hedda  Gabler  !  Now 
I  begin  to  see  a  hidden  reason  beneath  our  com- 
radeship !  You  *  and  I !  After  all,  then,  it 

was  your  craving  for  life 

HEDDA. 

[Softly,  with  a  sharp  glance]  Take  care  !  Believe 
nothing  of  the  sort ! 

[Twilight  has  begun  to  fall.     The  hall  door 
is  opened  from  without  by  BERT  A. 

HEDDA. 

[Closes  the  album  with  a  bang  and  calls  smilingly  :] 
Ah,  at  last  !  My  dariing  Thea, — corne  along  ! 

1  In  this  speech  he  once  more  says  du,  Hedda  addresses 
hjm  throughout  as  De, 


ACT    II.]  HEDDA    OABLER.  103 

MRS.  ELVSTED  enters  from  the  hall.  She  is  in  evening 
dress.     The  door  is  closed  behind  her. 

HEDDA. 

[O»  the  sofa,  stretches  out  her  arms  towards  her.] 
My  sweet  Thea — you  can't  think  how  I  have  been 
longing  for  you ! 

[Mas.  ELVSTED,  in  passing,  exchanges  slight 
salutations  with  the  gentlemen  in  the  inner 
room,  then  goes  up  to  the  table  and  gives 
HEDDA  her  hand.  EILERT  LOVBORG  has 
risen.  He  and  MRS.  ELVSTED  greet  each 
other  with  a  silent  nod. 

MRS.  ELVSTED. 

Ought  I  to  go  in  and  talk  to  your  husband  for  a 
moment  ? 

HEDDA. 

Oh,  not  at  all.  Leave  those  two  alone.  They 
will  soon  be  going. 

MRS.  ELVSTED. 
Are  they  going  out  ? 

HEDDA. 
Yes,  to  a  supper-party. 

MRS.  ELVSTED. 
[Quickly,  to  LOVBORG.]     Not  you? 

LOVBORG. 
No. 

HEDDA. 
Mr.  Lovborg  remains  with  us. 


104  HEDDA    GABLER.  [ACT    It. 

MRS.  ELVSTED. 

[Takes  a  chair  and  is  about  to  seat  herself  at  his 
side.]  Oh,  how  nice  it  is  here  ! 

HEDDA. 

No,  thank  you,  my  little  Thea  !  Not  there! 
You'll  be  good  enough  to  come  over  here  to  me. 
I  will  sit  between  you. 

MRS.  ELVSTED. 
Yes,  just  as  you  please. 

[She  goes  round  the  table  and  seats  herself 
on  the  sofa  on  HEDDA'S  right.  LOVBORG 
re-seats  himself  on  his  chair. 

LOVBORG. 

[After  a  short  pause,  to  HEDDA.]  Is  not  she 
lovely  to  look  at  ? 

HEDDA. 
[Lightly  stroking  her  hair.]     Only  to  look  at  ? 

LOVBORG. 

Yes.  For  we  two — she  and  I — we  are  two  real 
comrades.  We  have  absolute  faith  in  each  other  ; 
so  we  can  sit  and  talk  with  perfect  frankness 

HEDDA. 
Not  round  about,  Mr.  Lovborg? 

LOVBORG. 
Well 

MRS.  ELVSTED. 

[Softly  clinging  close  to  HEDDA.]  Oh,  how  happy 
I  am,  Hedda  !  For,  only  think,  he  says  I  have 
inspired  him  loo. 


ACT  II.]  HEDDA  GABLER.  105 

HEDDA. 

[Looks  at  her  with  a  smile.]  Ah  !  Does  he  say 
that,  dear  ? 

LOVBORG. 
And  then  she  is  so  brave,  Mrs.  Tesman  ! 

MRS.  EL  VST  ED. 
Good  heavens — am  I  brave  ? 

LOVBORO. 
Exceedingly — where  your  comrade  is  concerned. 

HEDDA. 
Ah  yes — courage  !      If  one  only  had  that ! 

LOVBORG. 
What  then  ?     What  do  you  mean  ? 

HEDDA. 

Then  life  would  perhaps  be  liveable,  after  all. 
[  With  a  sudden  change  of  tone.  ]  But  now,  my  dearest 
Thea,  you  really  must  have  a  glass  of  cold  punch. 

MRS.  ELVSTED. 
No,  thanks — I  never  take  anything  of  that  kind. 

HEDDA. 
Well  then,  you,  Mr.  Lovborg. 

LOVBORG. 
Nor  I,  thank  you. 

MRS.  ELVSTED. 
No,  he  doesn't  either. 


106  HEDDA   GABLER.  [ACT  II. 

HEDDA. 

[Looks  fixedly  at  him.}     But  if  I  say  you  shall  ? 

LOVBORG. 

It  would  be  no  use. 

HEDDA. 

[Laughing.]  Then  I,  poor  creature,  have  no  sort 
of  power  over  you  ? 

LOVBORG. 
Not  in  that  respect. 

HEDDA. 

But  seriously,  I  think  you  ought  to — for  your 
own  sake. 

MRS.  ELVSTED. 

Why,  Hedda ! 

LOVBORG. 
How  so  ? 

HEDDA. 
Or  rather  on  account  of  other  people. 

LOVBORG. 
Indeed  ? 

HEDDA. 

Otherwise  people  might  be  apt  to  suspect  that 
— in  your  heart  of  hearts — you  did  not  feel  quite 
secure — quite  confident  in  yourself. 

MRS.  ELVSTED. 
[Softly.]     Oh  please,  Hedda : 

LOVBORG. 

People  may  suspect  what  they  like — for  the 
present. 


ACT  II.]  HEDDA  GABLER.  107 

MRS.  ELVSTED. 
[Joyfully. ~\     Yes,  let  them  ! 

HEDDA. 

I  saw  it  plainly  in  Judge  Brack's  face  a  moment 
ago. 

Lb'VBORG. 

What  did  you  see  ? 

HEDDA. 

His  contemptuous  smile,  when  you  dared  not 
go  with  them  into  the  inner  room. 

LOVBORG. 

Dared  not  ?  Of  course  I  preferred  to  stop  here 
and  talk  to  yo  u. 

MRS.  ELVSTED. 
What  could  be  more  natural,  Hedda  ? 

HEDDA. 

But  the  Judge  could  not  guess  that.  And  I  saw, 
too,  the  way  he  smiled  and  glanced  at  Tesman 
when  you  dared  not  accept  his  invitation  to  this 
wretched  little  supper-party  of  his. 

LOVBORO. 
Dared  not !     Do  you  say  I  dared  not  ? 

HEDDA. 

/  don't  say  so.  But  that  was  how  Judge  Brack 
understood  it. 

LOVBORO. 
Well,  let  him. 

HEDDA. 
Then  you  are  not  going  with  them  ? 


108  HEDDA    GABLER.  [ACT    II. 

Lo'VBORG. 

I  will  stay  here  with  you  and  Thea. 

MRS.  ELVSTED. 
Yes,  Hedda — how  can  you  doubt  that  ? 

HEDDA. 

[Smiles  and  nods  approvingly  to  LOVBORG.]  Firm  as 
a  rock !  Faithful  to  your  principles,  now  and  for 
ever  !  Ah,  that  is  how  a  man  should  be  !  [Turns 
to  MRS.  ELVSTED  and  caresses  her.]  Well  now,  what 
did  1  tell  you,  when  you  came  to  us  this  morning 
in  such  a  state  of  distraction 

LOVBORG. 
[Surprised.']    Distraction ! 

MRS.  ELVSTED. 
[Terrified.]     Hedda— oh  Hedda ! 

HEDDA. 

You  can   see  for   yourself!     You  haven't  the 
slightest  reason  to   be  in  such   mortal  terror  — 
[Intetrupting  herself.]     There !      Now  we    can  all 
three  enjoy  ourselves ! 

LOVBORG. 

[Who  has  given  a  start.]  Ah — what  is  all  this, 
Mrs.  Tesman  ? 

MRS.  ELVSTED. 

Oh  my  God,  Hedda  !  What  are  you  saying  ? 
What  are  you  doing  ? 

HEDDA. 

Don't  get  excited  !  That  horrid  Judge  Brack 
is  sitting  watching  you. 


ACT    II.]  HEDDA     GABLER.  109 

LOVBORG. 

So  she  was  in  mortal  terror  !     On  my  account ! 

MRS.  ELVSTED. 

[Softly  and  piteous! yJ\  Oh,  Hedda — now  you  have 
ruined  everything  ! 

LOVBORG. 

[Looks  fixedly  at  her  for  a  moment.  His  face  is 
distorted.]  So  that  was  my  comrade's  frank  con- 
fidence in  me  ? 

MRS.  ELVSTED. 

[Imploringly.]  Oh,  my  dearest  friend — only  let 
me  tell  you — 

LOVBORG. 

[Takes  one  of  the  glasses  of  punch,  raises  it  to  his 
lips,  and  soys  in  a  loiv,  husky  voice.]  Your  health, 
Thea! 

[He  empties  the  glass,  puts  it  down,  and 
takes  the  second. 

MRS.  ELVSTED. 

[Softly.}  Oh,  Hedda,  Hedda — how  could  you 
do  this? 

HEDDA. 
/  do  it  ?     /  ?     Are  you  crazy  ? 

LOVBORG. 

Here's  to  your  health  too,  Mrs.  Tesman.  Thanks 
for  the  truth.  Hurrah  for  the  truth ! 

[He  empties  the  glass  and  is  about  to  re-Jill  it. 

HEDDA. 

[Lays  her  hand  on  his  arm.}  Come,come — no  more 
for  the  present.  Remember  you  are  going  out  to 
supper. 


110  HEDDA     GABLER.  [ACT    II. 


MRS.  ELVSTED. 
No,  no,  no ! 

HEDDA. 
Hush  !     They  are  sitting  watching  you. 

LOVBORG. 

[Putting  down  the  glass. ~\  Now,  Thea — tell  me 
the  truth 

MRS.  ELVSTED. 
Yes. 

LOVBORG. 

Did  your  husband  know  that  you  had  come 
after  me  ? 

MRS.  ELVSTED. 

[Wringing  her  hands .]  Oh,  Hedda — do  you  hear 
what  he  is  asking  ? 

LOVBORG. 

Was  it  arranged  between  you  and  him  that  you 
were  to  come  to  town  and  look  after  me  ?  Perhaps 
it  was  the  Sheriff  himself  that  urged  you  to  come  ? 
Aha,  my  dear — no  doubt  he  wanted  my  help  in  his 
office  !  Or  was  it  at  the  card-table  that  he  missed 
me  ? 

MRS.  ELVSTED. 
[Softly,  in  agony.]     Oh,  Lovborg,  Lbvborg ! 

LOVBORG. 

[Seizes  a  glass  and  is  on  the  point  of  filling  it.] 
Here's  a  glass  for  the  old  Sheriff  too  ! 

HEDDA. 

[Preventing  him.]  No  more  just  now.  Remember, 
you  have  to  read  your  manuscript  to  Tesman. 


ACT    II.]  HEDDA     GABLER.  Ill 

LOVBORG. 

[  Calmly,  putting  down  the  glass.]  It  was  stupid 
of  me  all  this,  Thea — to  take  it  in  this  way,  I 
mean.  Don't  be  angry  with  me,  my  dear,  dear 
comrade.  You  shall  see — both  you  and  the  others 
— that  if  I  was  fallen  once — now  I  have  risen 
again  !  Thanks  to  y  o  u,  Thea. 

MRS.  ELVSTED. 
[Radiant  with  jot/.]     Oh,  heaven  be  praised — 

[BRACK  has  in  the  meantime  looked  at  hif> 
watch.  He  and  TESMAN  rise  and  come 
into  the  drawing  room. 

BRACK. 

[Takes  his  frett  and  overcoat]  Well,  Mrs.  Tesman, 
our  time  has  come. 

HEDDA. 
I  suppose  it  has. 

LOVBORG. 
[Rising.']     Mine  too,  Judge  Brack. 

MRS.  ELVSTED. 

[Softly  and  imploringly]  Oh,  Lovborg,  don't  do 
it! 

HEDDA. 
[Pinching  her  arm.]     They  can  hear  you  ! 

MRS.  ELVSTED. 
[With  a  suppressed  shriek.]     Ow  ! 

LOVBORG. 

[To  BRACK.]  You  were  good  enough  to  invite 
me. 


112  HEDDA  GABLER.  ACT  II.] 

BRACK. 
Well,  are  you  coming  after  all  ? 

LOVBORG. 
Yes,  many  thanks. 

BRACK. 
I'm  delighted 

LOVBORG. 

[To  TESMAN,  putting  the  parcel  of  MS.  in  his 
pocket.]  I  should  like  to  show  you  one  or  two 
things  before  I  send  it  to  the  printers. 

TESMAN. 

Fancy — that  will  be  delightful.  But,  Hedda 
dear,  how  is  Mrs.  Elvsted  to  get  home  ?  Eh  ? 

HEDDA. 
Oh,  that  can  be  managed  somehow. 

LOVBORG. 

[Looking  towards  the  ladies.]  Mrs.  Elvsted?  Of 
course,  I'll  come  again  and  fetch  her.  [Approach- 
ing.] At  ten  or  thereabouts,  Mrs.  Tesman  ?  Will 
that  do  ? 

HEDDA. 
Certainly.     That  will  do  capitally. 

TESMAN. 

Well,  then,  that's  all  right.  But  you  must  not 
expect  me  so  early,  Hedda. 

HEDDA. 

Oh,  you  may  stop  as  long — as  long  as  ever  you 
please. 


ACT  II.]  HEDDA  GABLER.  113 

MRS.  ELVSTED. 

[Trying  to  conceal  her  anxiety.]  Well  then,  Mr. 
Lovborg — I  shall  remain  here  until  you  come. 

LOVBORG. 

[With  his  hat  in  his  hand.]  Pray  do,  Mrs. 
Elvsted. 

BRACK. 

And  now  off  goes  the  excursion  train,  gentle- 
men !  I  hope  we  shall  have  a  lively  time,  as  a 
certain  fair  lady  puts  it. 

HEDDA. 

Ah,  if  only  the  fair  lady  could  be  present  un- 
seen  ! 

BRACK. 
Why  unseen  ? 

HEDDA. 

In  order  to  hear  a  little  of  your  liveliness  at 
first  hand,  Judge  Brack. 

BRACK. 

[Laughing.]  I  should  not  advise  the  fair  lady 
to  try  it. 

TESMAN. 

[Also  laughing.]  Come,  you're  a  nice  one 
Hedda !  Fancy  that ! 

BRACK. 
Well,  good-bye,  good-bye,  ladies. 

LOVBORG. 
[Bowing.]     About  ten  o'clock,  then. 

[BRACK,  LOVBORG,  and  TESMAN  go  out  by 
the  hall  door.     At  the  same  time,  BERTA 

X  H 


114  HEDDA    GABLER.  [ACT    II. 

enters  from  the  inner  room  with  a  lighted 
lamp,  which  she  places  on  the  drawing- 
room  table ;  she  goes  out  by  the  way  she 
came. 

MRS.  ELVSTED. 

\Who  has  risen  and  is  wandering  restlessly  about 
the  room.]  Hedda— Hedda — what  will  come  of 
all  this  ? 

HEDDA. 

At  ten  o'clock — he  will  be  here.  I  can  see 
him  already — with  vine-leaves  in  his  hair — flushed 
and  fearless — 

MRS.  ELVSTED. 
Oh,  I  hope  he  may. 

HEDDA. 

And  then,  you  see — then  he  will  have  regained 
control  over  himself.  Then  he  will  be  a  free  man 
for  all  his  days. 

MRS.  ELVSTED. 

Oh  God  ! — if  he  would  only  come  as  you  see  him 
now  ! 

HEDDA. 

He  will  come  as  I  see  him — so,  and  not  other- 
wise !  [Rises  and  approaches  THEA.]  You  may 
doubt  him  as  long  as  you  please  ;  /  believe  in  him. 
And  now  we  will  try 

MRS.  ELVSTED. 
You  have  some  hidden  motive  in  this,  Hedda  ! 

HEDDA. 

Yes,  I  have.  I  want  for  once  in  my  life  to  have 
power  to  mould  a  human  destiny. 


ACT  II.]  HEDDA  GABLER.  115 

MRS.  ELVSTED. 
Have  you  not  the  power  ? 

HEDDA. 
I  have  not — and  have  never  had  it. 

MRS.  ELVSTEB 
Not  your  husband's  ? 

HEDDA. 

Do  you  think  that  is  worth  the  trouble?  Oh, 
if  you  could  only  understand  how  poor  I  am.  And 
fate  has  made  you  so  rich  !  [Clasps  her  passion- 
ately in  her  arms.]  I  think  I  must  burn  your  hair 
off,  after  all. 

MRS.  ELVSTED. 

Let  me  go  !  Let  me  go  !  I  am  afraid  of  you, 
Hedda! 

BERTA. 

[In  the  middle  doorway.]  Tea  is  laid  in  the 
dining-room,  ma'am. 

HEDDA. 
Very  well.     We  are  coming. 

MRS.  ELVSTED. 

No,  no,  no  !  I  would  rather  go  home  alone  \ 
At  once  ! 

HEDDA. 

Nonsense  !  First  you  shall  have  a  cup  of  tea, 
you  little  stupid.  And  then — at  ten  o'clock— 
Eilert  Lovborg  will  be  here — with  vine-leaves  in 
his  hair. 

[She  drags  MRS.  ELVSTED  almost  by  force 
towards  the  middle  doorway. 


ACT  THIRD. 

The  room  at  the  TESMANS'.  The  curtains  are  drawn 
over  the  middle  doorway,  and  also  over  the  glass 
door.  The  lamp,  half  turned  dotvn,  and  with  a 
shade  over  it,  is  burning  on  the  table.  In  the 
stove,  the  door  of  which  stands  open,  there  has 
been  a  jire,  which  is  now  nearly  burnt  out. 

MRS.  ELVSTED,  wrapped  in  a  large  shawl,  and  with 
her  feet  upon  a  foot-rest,  sits  close  to  the  stove, 
sunk  back  in  the  arm-chair.  HEDDA,  fully 
dressed,  lies  sleeping  upon  the  sofa,  with  a  sofa- 
blanket  over  her. 

MRS.  ELVSTED. 

[After  a  pause,  suddenly  sits  up  in  her  chair,  and 
listens  eagerly.  Then  she  sinks  back  again  wearily, 
moaning  to  herself '.]  Not  yet ! — Oh  God — oh  God 
— not  yet  ! 

BERTA  slips  cautiously  in  by  the  hall  door.     She  has  a 
letter  in  her  hand. 

MRS.  ELVSTED. 

[Turns  and  whispers  eagerly.]  Well — has  any 
one  come  ? 

BERTA. 
\Softly.     Yes,  a  girl  has  just  brought  this  letter. 


ACT    III.]  HEDDA    GABLER.  117 


MRS.  ELVSTED. 

[Quickly,  holding  out  her  hand.]     A  letter  !     Give 
it  to  me  ! 

BERTA. 
No,  it's  for  Dr.  Tesman,  ma'am. 

MRS.  ELVSTED. 
Oh,  indeed. 

BERTA. 

It  was  Miss  Tesman's  servant  that  brought  it. 
I'll  lay  it  here  on  the  table. 

MRS.  ELVSTED. 
Yes,  do. 

BERTA. 

[Laying  down  the  letter.]     I  think  I  had  better  put 
out  the  lamp.     It's  smoking. 

MRS.  ELVSTED. 

Yes,  put    it   out.     It  must   soon   be   daylight 
now. 

BERTA. 

[Putting  out  the  lamp]     It  is  daylight  already, 
ma'am. 

MRS.  ELVSTED. 
Yes,   broad   day  !     And   no    one    come    back 

yet ! 

BERTA. 

Lord  bless  you,  ma'am — I  guessed  how  it  would 
be. 

MRS.  ELVSTED. 
You  guessed  ? 

BERTA. 
Yes,  when  I  saw  that  a  certain  person  had  come 


118  HEDDA    GABLER.  [ACT    III. 

back  to  town — and  that  he  went  off  with  them. 
For  we've  heard  enough  about  that  gentleman 
before  now. 

MRS.  ELVSTED. 

Don't  speak  so  loud.  You  will  waken  Mrs.  Tes- 
man. 

BERTA. 

[Looks  toward,?  the  sofa  and  sighs.]  No,  no — let 
her  sleep,  poor  thing.  Shan't  I  put  some  wood 
on  the  fire  ? 

MRS.  ELVSTED. 
Thanks,  not  for  me. 

BERTA. 
Oh,  very  well. 

[She  goes  softly  out  by  the  hall  door. 

HEDDA. 

[fs  wakened  by  the  shutting  of  the  door,  and  looks 
up.]  What's  that—  —  ? 

MRS.  ELVSTED. 
It  was  only  the  servant — 

HEDDA. 

[Looking  about  her.]     Oh,  we're  here !    Yes, 

now  I  remember.  [Sits  erect  upon  the  sofa,  stretches 
herself,  and  rubs  her  eyes.]  What  o'clock  is  it, 
Thea  ? 

MRS.  ELVSTED. 

[Looks  at  her  watch.]     It's  past  seven. 

HEDDA. 
When  did  Tesman  come  home  ? 


ACT  III.]  HEDDA  OABLER.  119 

MRS.  ELVSTED. 
He  has  not  come. 

H  EDDA. 

Not  come  home  yet  ? 

MRS.  ELVSTED. 
[Rising.]     No  one  has  come. 

HEDDA. 

Think  of  our  watching  and  waiting  here  till 
four  in  the  morning 

MRS.  ELVSTED. 

[Wringing  her  hands.]  And  howl  watched  and 
waited  for  him ! 

HEDDA. 

[Yawns,  and  says  with  her  hand  before  her  mouth.] 
Well  well — we  might  have  spared  ourselves  the 
trouble.  , 

MRS.  ELVSTED. 
Did  you  get  a  little  sleep  ? 

HEDDA. 

Oh  yes ;  1  believe  I  have  slept  pretty  well. 
Have  you  not  ? 

MRS.  ELVSTED. 

Not  for  a  moment.  I  couldn't,  Hedda  ! — not 
to  save  my  life. 

HEDDA. 

[Rises  and  goes  loivards  her.]  There  there  there  ! 
There's  nothing  to  be  so  alarmed  about.  I  under- 
stand quite  well  what  has  happened. 


ISO  HEDDA  OABLER.  [ACT  III. 

MRS.  ELVSTED. 
Well,  what  do  you  think  ?     Won't  you  tell  me? 

HEDDA. 

Why,  of  course  it  has  been  a  very  late  affair  at 
Judge  Brack's — 

MRS.  ELVSTED. 

Yes,  yes — that  is  clear  enough.  But  all  the 
same 

HEDDA. 

And  then,  you  see,  Tesman  hasn't  cared  to  come 
home  and  ring  us  up  in  the  middle  of  the  night. 
[Laughing.]  Perhaps  he  wasn't  inclined  to  show 
himself  either — immediately  after  a  jollification. 

MRS.  ELVSTED. 
But  in  that  case — where  can  he  have  gone  ? 

HEDDA. 

Of  course  he  has  gone  to  his  Aunts'  and  slept 
there.  They  have  his  old  room  ready  for  him. 

MRS.  ELVSTED. 

No,  he  can't  be  with  them  ;  for  a  letter  has  just 
come  for  him  from  Miss  Tesman.  There  it  lies. 

HEDDA. 

Indeed  ?  [Looks  at  the  address.]  Why  yes,  it's 
addressed  in  Aunt  Julia's  own  hand.  Well  then, 
he  has  remained  at  Judge  Brack's.  And  as  for 
Eilert  Lovborg — he  is  sitting,  with  vine  leaves  in 
his  hair,  reading  his  manuscript. 


ACT  III.]  HEDDA  GABLER.  121 

MRS.  ELVSTED. 

Oh  Hedda,  you  are  just  saying  things  you  don't 
believe  a  bit. 

HEDDA, 
You  really  are  a  little  blockhead,  Thea. 

MRS.   ELVSTED. 
Oh  yes,  I  suppose  I  am. 

HEDDA. 
And  how  mortally  tired  you  look. 

MRS.  ELVSTED. 
Yes,  I  am  mortally  tired. 

HEDDA. 

Well  then,  you  must  do  as  I  tell  you.    You  must 
go  into  my  room  and  lie  down  for  a  little  while. 

MRS.  ELVSTED. 
Oh  no,  no — I  shouldn't  be  able  to  sleep. 

HEDDA. 
I  am  sure  you  would. 

MRS.  ELVSTED. 

Well,  but  your  husband  is  certain  to  come  soon 
now  ;  and  then  I  want  to  know  at  once — 

HEDDA. 

I  shall  take  care  to  let  you   know  when  he 
comes. 

MRS.  ELVSTED. 
Do  you  promise  me,  Hedda  ? 


122  HEDDA    GABLER.  [ACT    III. 


HEDDA. 

Yes,  rely  upon  me.  Just  you  go  in  and  have  a 
sleep  in  the  meantime. 

MRS.  ELVSTED. 
Thanks  ;  then  I'll  try  to. 

[She  goes  off  through  the  inner  room. 
[  H  EDDA  goes  up  to  the  glass  door  and  draws 
back  the  curtains.  The  broad  daylight 
streams  into  the  room.  Then  she  takes  a 
little  hand-glass  from  the  writing-table, 
looks  at  herself  in  it,  and  arranges  her 
hair.  Next  she  goes  to  the  hall  door  and 
presses  the  bell-button. 

BERTA  presently  appears  at  the  hall  door. 

BERTA. 
Did  you  want  anything,  ma'am  ? 

HEDDA. 

Yes;  you  must  put  some  more  wood  in  the  stove. 
I  am  shivering. 

BERTA. 

Bless  me — I'll  make  up  the  fire  at  once.  [She 
rakes  the  embers  together  and  lays  a  piece  of  wood 
upon  them ;  then  stops  and  listens.}  That  was  a 
ring  at  the  front  door,  ma'am. 

HEDDA. 
Then  go  to  the  door.     I  will  look  after  the  fire. 

BERTA. 
It'll  soon  burn  up. 

[She  goes  out  by  the  hall  door. 
[HEDDA  kneels  on  the  foot-rest    and   lays 
some  more  pieces  of  wood  in  the  stove. 


ACT    III.]  HEDDA    GABLER.  123 

After  a  short  pause,  GEORGE  TESMAN  enters  from 
the  hall.  He  looks  tired  and  rather  serious.  He 
steals  on  tiptoe  towards  the  middle  doorway  and 
is  about  to  slip  through  the  curtains. 

HEDDA. 
[At  the  stove,  without  looking  up.]    Good  morning. 

TESMAN. 

[Turns.]      Hedda !      [Approaching   her.]      Good 
heavens — are  you  up  so  early  ?     Eh  ? 

HEDDA. 
Yes,  I  am  up  very  early  this  morning. 

TESMAN. 

And  I  never  doubted  you  were  still  sound  asleep ! 
Fancy  that,  Hedda  ! 

HEDDA. 

Don't  speak  so  loud.     Mrs.  Elvsted  is  resting 
in  my  room. 

TESMAN. 
Has  Mrs.  Elvsted  been  here  all  night  ? 

HEDDA. 
Yes,  since  no  one  came  to  fetch  her. 

TESMAN. 
Ah,  to  be  sure. 

HEDDA. 

[Closes  the  door  of  the  stove  and  rises.]     Well,  did 
you  enjoy  yourselves  at  Judge  Brack's  ? 

TESMAN. 
Have  you  been  anxious  about  me  ?     Eh  ? 


124  HEDDA   GABLER.  [ACT  III. 

HEDDA. 

No,  1  should  never  think  of  being  anxious.  But 
I  asked  if  you  had  enjoyed  yourself. 

TESMAN. 

Oh  yes, — for  once  in  a  way.  Especially  the 
beginning  of  the  evening ;  for  then  Eilert  read 
me  part  of  his  book.  We  arrived  more  than  an 
hour  too  early — fancy  that !  And  Brack  had  all 
sorts  of  arrangements  to  make — so  Eilert  read  to 
me. 

HEDDA. 

[Seating  herself  by  the  table  on  the  right.']  Well  ? 
Tell  me,  then — 

TESMAN. 

[Sitting  on  a  footstool  near  the  stove.]  Oh  Hedda, 
you  can't  conceive  what  a  book  that  is  going  to 
be  !  I  believe  it  is  one  of  the  most  remarkable 
things  that  have  ever  been  written.  Fancy  that ! 

HEDDA. 
Yes  yes  ;  I  don't  care  about  that 

TESMAN. 

I  must  make  a  confession  to  you,  Hedda.  When 
he  had  finished  reading — a  horrid  feeling  came 
over  me. 

HEDDA. 
A  horrid  feeling  ? 

TESMAN. 

I  felt  jealous  of  Eilert  for  having  had  it  in  him 
to  write  such  a  book.  Only  think,  Hedda  ! 

HEDDA. 
Yes,  yes,  I  am  thinking  I 


ACT  III.]  HEDDA  OABLER.  125 

TESMAN. 

And  then  how  pitiful  to  think  that  he — with  all 
his  gifts — should  be  irreclaimable,  after  all. 

HEDDA. 

I  suppose  you  mean  that  he  has  more  courage 
than  the  rest  ? 

TESMAN. 

No,  not  at  all — I  mean  that  he  is  incapable  of 
taking  his  pleasures  in  moderation. 

HEDDA. 
And  what  came  of  it  all — in  the  end  ? 

TESMAN. 

Well,  to  tell  the  truth,  I  think  it  might  best  be 
described  as  an  orgie,  Hedda. 

HEDDA. 
Had  he  vine-leaves  in  his  hair? 

TESMAN. 

Vine-leaves?  No,  I  saw  nothing  of  the  sort. 
But  he  made  a  long,  rambling  speech  in  honour 
of  the  woman  who  had  inspired  him  in  his  work — 
that  was  the  phrase  he  used. 

HEDDA. 
Did  he  name  her  ? 

TESMAN. 

No,  he  didn't ;  but  I  can't  help  thinking  he 
meant  Mrs.  Elvsted.  You  may  be  sure  he  did. 

HEDDA. 
Well — where  did  you  part  from  him  ? 


126  HEDDA  GABLER.  [ACT  III. 

TESMAN. 

On  the  way  to  town.  We  broke  up — the  last 
of  us  at  any  rate — all  together;  and  Brack  came 
with  us  to  get  a  breath  of  fresh  air.  And  then, 
you  see,  we  agreed  to  take  Eilert  home  ;  for  he 
had  had  far  more  than  was  good  for  him. 

HEDDA. 
I  daresay. 

TESMAN. 

But  now  comes  the  strange  part  of  it,  Hedda  ; 
or,  I  should  rather  say,  the  melancholy  part  of  it. 
I  declare  I  am  almost  ashamed — on  Eilert's  account 

— to  tell  you 

HEDDA. 

Oh,  go  on ! 

TESMAN. 

Well,  as  we  were  getting  near  town,  you  see,  I 
happened  to  drop  a  little  behind  the  others.  Only 
for  a  minute  or  two — fancy  that ! 

HEDDA. 

Yes  yes  yes,  but ? 

TESMAN. 

And  then,  as  I  hurried  after  them — what  do 
you  think  I  found  by  the  wayside  ?  Eh  ? 

HEDDA. 
Oh,  how  should  I  know  ! 

TESMAN. 

You  mustn't  speak  of  it  to  a  soul,  Hedda  !     Do 
you  hear  !     Promise  me,  for  Eilert's  sake.     [Draws 
a  parcel,  wrapped  in  paper,  from  his  coat  pocket. 
Fancy,  dear — I  found  this. 


ACT    III.]  HEDDA     GABLER.  127 


HEDDA. 
Is  not  that  the  parcel  he  had  with  him  yesterday  ? 

TESMAN. 

Yes,  it  is  the  whole  of  his  precious,  irreplaceable 
manuscript  !  And  he  had  gone  and  lost  it,  and 
knew  nothing  about  it.  Only  fancy,  Hedda  !  So 
deplorably — 

HEDDA. 

But  why  did  you  not  give  him  back  the  parcel 
at  once  ? 

TESMAN. 

I  didn't  dare  to — in  the  state  he  was  then 
in — 

HEDDA. 

Did  you  not  tell  any  of  the  others  that  you  had 
found  it  ? 

TESMAN. 

Oh,  far  from  it  !  You  can  surely  understand 
that,  for  Eilert's  sake,  I  wouldn't  do  that. 

HEDDA. 

So  no  one  knows  that  Eilert  Lovborg's  manu- 
script is  in  your  possession  ? 

TESMAN. 
No.     And  no  one  must  know  it 

HEDDA. 
Then  what  did  you  say  to  him  afterwards  ? 

TESMAN. 

I  didn't  talk  to  him  again  at  all  ;  for  when  we 
got  in  among  the  streets,  he  and  two  or  three  of 
the  others  gave  us  the  slip  and  disappeared. 
Fancy  that ! 


128  HEDDA  GABLER.  [ACT  III. 

HEDDA. 
Indeed !  They  must  have  taken  him  home  then. 

TESMAN. 
Yes,  so  it  would  appear.    And  Brack,  too,  left  us. 

HEDDA. 

And  what  have  you  been  doing  with  yourself 
since  ? 

TESMAN. 

Well,  I  and  some  of  the  others  went  home  with 
one  of  the  party,  a  jolly  fellow,  and  took  our 
morning  coffee  with  him ;  or  perhaps  I  should 
rather  call  it  our  night  coffee — eh  ?  But  now, 
when  I  have  rested  a  little,  and  given  Eilert, 
poor  fellow,  time  to  have  his  sleep  out,  I  must 
take  this  back  to  him. 

HEDDA. 

[Holds  out  her  hand  for  the  packet.]  No — don't 
give  it  to  him  !  Not  in  such  a  hurry,  I  mean. 
Let  me  read  it  first. 

TESMAN. 

No,  my  dearest  Hedda,  I  mustn't,  I  really 
mustn't. 

HEIDA. 
You  must  not  ? 

TESMAN. 

No — for  you  can  imagine  what  a  state  of  des- 
pair he  will  be  in  when  he  wakens  and  misses  the 
manuscript.  He  has  no  copy  of  it,  you  must  know ! 
He  told  me  so. 

HEDDA. 

{Looking  searchingly  at  him.}  Can  such  a  thing 
not  be  reproduced  ?  Written  over  agaia  ? 


ACT  III.]  HEDDA  GABLER.  129 

TESMAN. 

No,  I  don't  think  that  would  be  possible.  For 
the  inspiration,  you  see 

HEDDA. 

Yes,  yes — I  suppose  it  depends   on   that 

[Lightly.]     But,  by-the-bye — here  is  a  letter  for 
you. 

TESMAN. 
Fancy — 

HEDDA. 

[Handing  it  to  him.}  It  came  early  this  morn- 
ing. 

TESMAN. 

It's  from  Aunt  Julia  !  What  can  it  be  ?  [He 
lays  the  packet  on  the  other  footstool,  opens  the  letter, 
runs  his  eye  through  it,  and  jumps  up.]  Oh,  Hedda 
— she  says  that  poor  Aunt  Rina  is  dying  ! 

HEDDA. 
Well,  we  were  prepared  for  that. 

TESMAN. 

And  that  if  I  want  to  see  her  again,  I  must 
make  haste.  I'll  run  in  to  them  at  once. 

HEDDA. 

[Suppressing  a  smile.]     Will  you  run  ? 

TESMAN. 

Oh,  my  dearest  Hedda — if  you  could  only  make 
up  your  mind  to  come  with  me !  Just  think  ! 

HEDDA. 

[Rises  and  says  wearily,  repelling  the  idea.]     No, 


130  HEDDA    GABLER.  [ACT    III. 

no,  don't  ask  me.      I  will  not  look  upon  sickness 
and  death.      I  loathe  all  sorts  of  ugliness. 

TESMAN. 

Well,  well,  then !     [Bustling  around.]     My 

hat ?       My     overcoat ?       Oh,     in     the 

hall .     I    do   hope   I    mayn't  come    too  late, 

Hedda  !     Eh  ? 

HEDDA. 
Oh,  if  you  run — 

[BERTA  appears  at  the  hall  door. 

BERTA. 

Judge  Brack  is  at  the  door,  and  wishes  to  know 
if  he  may  come  in. 

TESMAN. 

At  this  time  !     No,  I  can't  possibly  see  him. 

HEDDA. 

But  I  can.     [To  BERTA.]     Ask  Judge  Brack  to 
come  in.  [BERTA  goes  out. 

HEDDA. 
[Quickly,  whispering.]     The  parcel,  Tesman  ! 

[She  snatches  it  up  from  the  stool. 

TESMAN. 
Yes,  give  it  to  me  ! 

HEDDA. 
No,  no,  I  will  keep  it  till  you  come  back. 

[She  goes  to  the  writing-table  and  places  it 
in  the  bookcase.  TESMAN  stands  in  a 
flurry  of  haste,  and  cannot  get  his  gloves 
on. 


ACT    III.]  HEDDA     GABLER.  131 

JUDGE  BRACK  enters  from  the  hall. 

HEDDA. 

[Nodding  to  him.}  You  are  an  early  bird,  I  must 
say. 

BRACK. 

Yes,  don't  you  think  so  ?  [To  TESMAN.]  Are 
you  on  the  move,  too  ? 

TESMAN. 

Yes,  I  must  rush  off  to  my  aunts'.  Fancy — 
the  invalid  one  is  lying  at  death's  door,  poor 
creature. 

BRACK. 

Dear  me,  is  she  indeed  ?  Then  on  no  account 
let  me  detain  you.  At  such  a  critical  moment 

TESMAN. 

Yes,  I  must  really  rush —  Good-bye  !  Good- 
bye !  [He  hastens  out  by  the  hall  door. 

HEDDA. 

[Approaching.]  You  seem  to  have  made  a 
particularly  lively  night  of  it  at  your  rooms,  Judge 
Brack. 

BRACK. 

I  assure  you  I  have  not  had  my  clothes  off,  Mrs. 
Hedda. 

HEDDA. 
Not  you,  either  ? 

BRACK. 

No,  as  you  may  see.  But  what  has  Tesman 
been  telling  you  of  the  night's  adventures  ? 


132  HEDDA   GABLER.  [ACT  III. 

HEDDA. 

Oh,  some  tiresome  story.     Only  that  they  went 
and  had  coffee  somewhere  or  other. 

BRACK. 

I   have   heard  about   that  coffee-party  already. 
Eilert  Lovborg  was  not  with  them,  I  fancy? 

HEDDA. 
No,  they  had  taken  him  home  before  that. 

BRACK. 
Tesman  too? 

HEDD.A. 
No,  but  some  of  the  others,  he  said. 

BRACK. 

[Smiling.]     George  Tesman  is  really  an  ingenu- 
ous creature,  Mrs.  Hedda. 

HEDDA. 

Yes,  heaven  knows  he  is.     Then  is  there  some- 
thing behind  all  this  ? 

BRACK. 
Yes,  perhaps  there  may  be. 

HEDDA. 

Well  then,  sit  down,  my  dear  Judge,  and  tell 
your  story  in  comfort. 

[She  seats  herself  to  the  left  of  the  table. 
BRACK  sits  near  her,  at  the  long  side  of 
the  table. 

HEDDA. 
Now  then  ? 


ACT  III.]  HEDDA   GABLER.  133 

BRACK. 

I  had  special  reasons  for  keeping  track  of  my 
guests — or  rather  of  some  of  my  guests — last 
night. 

HEDDA. 

Of  Eilert  Lovborg  among  the  rest,  perhaps  ? 

BRACK. 

Frankly — yes. 

HEDDA. 
Now  you  make  me  really  curious 


BRACK. 

Do  you  know  where  he  and  one  or  two  of  the 
others  finished  the  night,  Mrs.  Hedda  ? 

HEDDA. 
If  it  is  not  quite  unmentionable,  tell  me. 

BRACK. 

Oh  no,  it's  not  at  all  unmentionable.  Well, 
they  put  in  an  appearance  at  a  particularly  ani- 
mated soiree. 

HEDDA. 

Of  the  lively  kind  ? 

BRACK. 
Of  the  very  liveliest — 

HEDDA. 
Tell  me  more  of  this,  Judge  Brack 


BRACK. 

Lovborg,  as  well  as  the  others,  had  been  invited 
in  advance.     I  knew  all  about  it.     But  he  had 


134-  HEDDA    GABLER.  [ACT    III. 

declined  the  invitation  ;  for  now,  as  you  know,  he 
has  become  a  new  man. 

HEDDA. 

Up  at  the  Elvsteds',  yes.  But  he  went  after 
all,  then  ? 

BRACK. 

Well,  you  see,  Mrs.  Hedda — unhappily  the 
spirit  moved  him  at  my  rooms  last  evening — 

HEDDA. 
Yes,  I  hear  he  found  inspiration. 

BRACK. 

Pretty  violent  inspiration.  Well,  I  fancy  that 
altered  his  purpose  ;  for  we  menfolk  are  unfortu- 
nately not  always  so  firm  in  our  principles  as  we 
ought  to  be. 

HEDDA. 

Oh,  I  am  sure  you  are  an  exception,  Judge 
Brack.  But  as  to  Lovborg ? 

BRACK. 

To  make  a  long  story  short — he  landed  at  last 
in  Mademoiselle  Diana's  rooms. 

HEDDA. 
Mademoiselle  Diana's  ? 

BRACK. 

It  was  Mademoiselle  Diana  that  was  giving  the 
soiree,  to  a  select  circle  of  her  admirers  and  her 
lady  friends. 

HEDDA. 
Is  she  a  red-haired  woman  ? 


ACT  in.]  in. UN  \    (,  \iu.i  u.  J35 

BRACK. 
Precisely. 

HEDDA. 
A  sort  of  a — singer  ? 

BRACK. 

Oh  yes — in  her  leisure  moments.  And  more- 
over a  mighty  huntress — of  men — Mrs.  Hedda. 
You  have  no  doubt  heard  of  her.  Eilert  Lovborg 
was  one  of  her  most  enthusiastic  protectors — in 
the  days  of  his  glory. 

HEDDA. 

And  how  did  all  this  end  ? 

BRACK. 

Far  from  amicably,  it  appears.  After  a  most 
tender  meeting,  they  seem  to  have  come  to 

blows 

HEDDA. 
Lovborg  and  she  ? 

BRACK. 

Yes.  He  accused  her  or  her  friends  of  having 
robbed  him.  He  declared  that  his  pocket-book 
had  disappeared — and  other  things  as  well.  In 
short,  he  seems  to  have  made  a  furious  disturbance,, 

HEDDA. 
And  what  came  of  it  all  ? 

BRACK. 

It  came  to  a  general  scrimmage,  in  which  the 
ladies  as  well  as  the  gentlemen  took  part.  Fortu- 
nately the  police  at  last  appeared  on  the  scene. 


136  HEDDA   GABLER.  [ACT  III. 

HEDDA. 
The  police  too  ? 

BRACK. 

Yes.  I  fancy  it  will  prove  a  costly  frolic  for 
Eilert  Lovborg,  crazy  being  that  he  is. 

HEDDA. 
How  so  ? 

BRACK. 

He  seems  to  have  made  a  violent  resistance — 
to  have  hit  one  of  the  constables  on  the  head  and 
torn  the  coat  off  his  back.  So  they  had  to  march 
him  off  to  the  police-station  with  the  rest. 

HEDDA. 
How  have  you  learnt  all  this  ? 

BRACK. 
From  the  police  themselves. 

HEDDA. 

[Gazing  straight  before  her.]  So  that  is  what 
happened.  Then  he  had  no  vine-leaves  in  his 
hair. 

BRACK. 
Vine-leaves,  Mrs.  Hedda  ? 

HEDDA. 

[Changing  her  toneJ\  But  tell  me  now,  Judge — 
what  is  your  real  reason  for  tracking  out  Eilert 
Lb'vborg's  movements  so  carefully  ? 

BRACK. 

In  the  first  place,  it  could  not  be  entirely 
indifferent  to  me  if  it  should  appear  in  the  police- 
court  that  he  came  straight  from  my  house. 


ACT  III.]  HEDDA  OABLER.  137 

HEDDA. 
Will  the  matter  come  into  court  then  ? 

BRACK. 

Of  course.  However,  I  should  scarcely  have 
troubled  so  much  about  that.  But  I  thought 
that,  as  a  friend  of  the  family,  it  was  my  duty  to 
supply  you  and  Tesman  with  a  full  account  of  his 
nocturnal  exploits. 

HEDDA. 
Why  so,  Judge  Brack  ? 

BRACK. 

Why,  because  I  have  a  shrewd  suspicion  that 
he  intends  to  use  you  as  a  sort  of  blind. 

HEDDA. 
Oh,  how  can  you  think  such  a  thing ! 

BRACK. 

Good  heavens,  Mrs.  Hedda — we  have  eyes  in 
our  head.  Mark  my  words  !  This  Mrs.  Elvsted 
will  be  in  no  hurry  to  leave  town  again. 

HEDDA. 

Well,  even  if  there  should  be  anything  between 
them,  I  suppose  there  are  plenty  of  other  places 
where  they  could  meet. 

BRACK. 

Not  a  single  home.  Henceforth,  as  before, 
every  respectable  house  will  be  closed  against 
Eilert  Lovborg. 

HEDDA. 
And  so  ought  mine  to  be,  you  mean  ? 


138  HEDDA   GABLER.  [ACT  III. 

BRACK. 

Yes.  I  confess  it  would  be  more  than  painful 
to  me  if  this  personage  were  to  be  made  free  of 
your  house.  How  superfluous,  how  intrusive,  he 
would  be,  if  he  were  to  force  his  way  into 

HEDDA. 
into  the  triangle  ? 


BRACK. 

Precisely.  It  would  simply  mean  that  I  should 
find  myself  homeless. 

HEDDA. 

[Looks  at  him  with  a  smile.]  So  you  want  to  be 
the  one  cock  in  the  basket1 — that  is  your  aim. 

BRACK. 

[Nods  slowly  and  lowers  his  voice.]  Yes,  that 
is  my  aim.  And  for  that  I  will  fight — with  every 
weapon  I  can  command. 

HEDDA. 

[Her  smile  vanishing.]  I  see  you  are  a  dangerous 
person — when  it  comes  to  the  point. 

BRACK. 
Do  you  think  so  ? 

HEDDA. 

I  am  beginning  to  think  so.  And  I  am  exceed- 
ingly glad  to  think — that  you  have  no  sort  of 
hold  over  me. 

1  "  Eneste  bane  i  kurven  " — a  proverbial  saying. 


ACT    111.]  HEDDA    OABLER.  139 


BRACK. 

[Laughing  equivocally.]  Well  well,  Mrs.  Hedda 
— perhaps  you  are  right  there.  If  I  had,  who 
knows  what  I  might  be  capable  of? 

HEDDA. 

Ccme  come  now,  Judge  Brack  !  That  sounds 
almost  like  a  threat. 

BRACK. 

[Rising.]  Oh,  not  at  all  !  The  triangle,  you 
know,  ought,  if  possible,  to  be  spontaneously  con- 
structed. 

HEDDA. 
There  I  agree  with  you. 

BRACK. 

Well,  now  I  have  said  all  I  had  to  say ;  and  I 
had  better  be  getting  back  to  town.  Good-bye, 
Mrs.  Hedda.  [He  goes  towards  the  glass  door* 

HEDDA. 
[Rising]     Are  you  going  through  the  garden  ? 

BRACK. 
Yes,  it's  a  short  cut  for  me. 

HEDDA. 
And  then  it  is  a  back  way,  too. 

BRACK. 

Quite  so.  I  have  no  objection  to  back  ways. 
They  may  be  piquant  enough  at  times. 

HEDDA. 
When  there  is  ball  practice  going  on,  you  mean  ? 


140  HEDDA  GABLER.  [ACT  III. 

BRACK. 

[In  the  doorway,  laughing  to  her]     Oh,  people 
don't  sho  3t  their  tame  poultry,  I  fancy. 

HEDDA. 

[Also  laughing]    Oh  no,  when  there  is  only  one 
cock  in  the  basket — 

[They  exchange  laughing  nods  of  farewell. 
He  goes.  She  closes  the  door  behind 
him. 

[HEDDA,  who  has  become  quite  serious,  stands 
for  a  moment  looking  out.  Presently  she 
goes  and  peeps  through  the  curtain  over 
the  middle  doorway.  Then  she  goes  to 
the  writing-table,  takes  LOVBORG'S  packet 
out  of  the  bookcase,  and  is  on  the  point  oj 
looking  through  its  contents.  BERTA  is 
heard  speaking  loudly  in  the  hall.  HEDDA 
turns  and  listens.  Then  she  hastily  locks 
up  the  packet  in  the  drawer,  and  lays  the 
key  on  the  inkstand. 

EILERT  LOVBORG,  with  his  greatcoat  on  and  his  hat  in 
his  hand,  tears  open  the  hall  door.  He  looks 
sometvhat  confused  and  irritated. 

LOVBORG. 

[Looking  towards  the  hall]     And   I  tell  you  I 
must  and  will  come  in  !     There  ! 

[He  closes  the  door,  turns,  sees  HEDDA,  at 
once  regains  his  self-control,  and  bows. 

HEDDA. 

[At  the  writing-table]     Well,  Mr.  Lovborg,  this 
is  rather  a  late  hour  to  call  for  Thea. 


ACT    III.]  HEDDA    GABLER.  141 

LOVBORG. 

You  mean  rather  an  early  hour  to  call  on  you. 
Pray  pardon  me. 

HEDDA. 
How  do  you  know  that  she  is  still  here  ? 

LOVBORG. 

They  told  me  at  her  lodgings  that  she  had 
been  out  all  night. 

HEDDA. 

[Going  to  the  oval  table.]  Did  you  notice  any- 
thing about  the  people  of  the  house  when  they 
said  that  ? 

LOVBORG. 

[Looks  inquiringly  at  her.]  Notice  anything 
about  them  ? 

HEDDA. 

I  mean,  did  they  seem  to  think  it  odd  ? 

LOVBORG. 

[Suddenly  understanding]  Oh  yes,  of  course  ! 
I  am  dragging  her  down  with  me  !  However,  I 
didn't  notice  anything. — I  suppose  Tesman  is  not 
up  yet  ? 

HEDDA. 
No — I  think  not 

LOVBORG. 
When  did  he  come  home  ? 

HEDDA. 
Very  late. 

LOVBORG. 
Did  he  tell  you  anything  ? 


142  HEDDA  GABLER.  [ACT  III. 

HEDDA. 

Yes,  I  gathered  that  you  had  had   an  exceed- 
ingly jolly  evening  at  Judge  Brack's. 

LOVBORG. 
Nothing  more  ? 

HEDDA. 

I  don't  think  so.     However,  I  was  so  dread- 
fully sleepy — 

MRS.  ELVSTED  enters  through  the  curtains  of  the 
middle  doorway. 

MRS.  ELVSTED. 
[Going    towards    him.]       Ah,     Lovborg  !        At 

last ! 

LOVBORG. 
Yes,  at  last.     And  too  late  ! 

MRS.  ELVSTED. 
[Looks  anxiously  at  him.]     What  is  too  late  ? 

LOVBORG. 

Everything  is  too  late  now.     It  is  all  over  with 
me. 

MRS.  ELVSTED. 
Oh  no,  no — don't  say  that ! 

LOVBORG. 
You  will  say  the  same  when  you  hear 


MRS.  ELVSTEO. 
I  won't  hear  anything ! 


ACT  III.]  HEDDA  GABLER.  143 

HEDDA. 

Perhaps  you  would  prefer  to  talk  to  her  alone  I 
If  so,  I  will  leave  you. 

LOVBORG. 
No,  stay — you  too.     I  beg  you  to  stay. 

MRS.   ELVSTED. 
Yes,  but  I  won't  hear  anything,  I  tell  you. 

LOVBORG. 

It  is  not  last  night's  adventures  that  I  want  to 
talk  about. 

MRS.  ELVSTED. 
What  is  it  then ? 

LOVBORG. 
I  want  to  say  that  now  our  ways  must  part. 

MRS.  ELVSTED. 
Part  ! 

HEDDA. 
[Involuntarily.]     I  knew  it ! 

LOVBORG. 
You  can  be  of  no  more  service  to  me,  Thea. 

MRS.  ELVSTED. 

How  can  you  stand  there  and  say  that !  No 
more  service  to  you  !  Am  I  not  to  help  you 
now,  as  before  ?  Are  we  not  to  go  on  working 
together  ? 

LOVBORG. 
Henceforward  I  shall  do  no  work. 


144  HEDDA  GABLER.  [ACT  III. 

MRS.  ELVSTED. 

[Despairingly.]  Then  what  am  I  to  do  with 
my  life  ? 

LOVBORG. 

You  must  try  to  live  your  life  as  if  you  had 
never  known  me. 

MRS.  ELVSTED. 
But  you  know  I  cannot  do  that ! 

LOVBORG. 
Try  if  you  cannot,  Thea.     You   must  go  home 

again 

MRS.  ELVSTED. 

[In  vehement  protest.]  Never  in  this  world  ! 
Where  you  are,  there  will  I  be  also  !  I  will  not 
let  myself  be  driven  away  like  this !  I  will 
remain  here !  I  will  be  with  you  when  the  book 
appears. 

HEDDA. 
[Half  aloud,  in  suspense.]     Ah  yes — the  book  ! 

LOVBORG. 

[Looks  at  her.]  My  book  and  Thea's ;  for 
that  is  what  it  is. 

MRS.  ELVSTED. 

Yes,  I  feel  that  it  is.  And  that  is  why  I  have 
a  right  to  be  with  you  when  it  appears !  I  will 
see  with  my  own  eyes  how  respect  and  honour 
pour  in  upon  you  afresh.  And  the  happiness^- 
the  happiness — oh,  I  must  share  it  with  you  ! 

LOVBORG. 
Thea — our  book  will  never  appear. 


ACT  III.]  HEDDA  GABLER.  145 

HEDDA. 
Ah! 

MRS.  ELVSTED. 
Never  appear  ! 

LOVBORG. 
Can  never  appear. 

MRS.  ELVSTED. 

[In  agonised  foreboding.]     Lovborg — what  have 
you  done  with  the  manuscript  ? 

HEDDA. 

[Looks    anxiously    at    him.]       Yes,    the    manu- 
script  ? 

MRS.  ELVSTED. 
Where  is  it  ? 

LOVBORG. 
Oh  Thea — don't  ask  me  about  it ! 

MRS.  ELVSTED. 

Yes,  yes,  I  will  know.     I  demand  to  be  told 
at  once. 

LOVBORG. 

The  manuscript .     Well  then — 1  have  torn 

the  manuscript  into  a  thousand  pieces. 

MRS.  ELVSTED. 
[Shrieks.']     Oh  no,  no ! 

HEDDA. 
[Involuntarily.]     But  that's  not 

LOVBORG. 
[Looks  at  her.]     Not  true,  you  think  ? 

X  K 


146  HEDDA  GABLER.  [ACT  III. 

HEDDA. 

[Collecting  herself.]  Oh  well,  of  course— since 
you  say  so.  But  it  sounded  so  improbable 

LOVBORG. 
It  is  true,  all  the  same. 

MRS.  ELVSTED. 

[  Wringing  her  hands.]  Oh  God — oh  God,  Hedda 
— torn  his  own  work  to  pieces  ! 

LOVBORG. 

I  have  torn  my  own  lite  to  pieces.  So  why 
should  I  not  tear  my  life-work  too ? 

MRS.  ELVSTED. 
And  you  did  this  last  night  ? 

LOVBORG. 

Yes,  I  tell  you  !  Tore  it  into  a  thousand  pieces 
— and  scattered  them  on  the  fiord — far  out. 
There  there  is  cool  sea-water  at  any  rate — let 
them  drift  upon  it — drift  with  the  current  and 
the  wind.  And  then  presently  they  will  sink — 
deeper  and  deeper — as  I  shall,  Thea. 

MRS.  ELVSTED. 

Do  you  know,  Lovborg,  that  what  you  have 
done  with  the  book — I  shall  think  of  it  to  my 
dying  day  as  though  you  had  killed  a  little  child. 

LOVBORG. 
Yes,  you  are  right.     It  is  a  sort  of  child-murder. 


ACT    III.]  HEDDA    GABLER.  147 


MRS.  ELVSTED. 

How  could  you,  then !     Did  not  the  child 

belong  to  me  too  ? 

HEDDA. 
[Almost  inaudibly.]     Ah,  the  child — 

MRS.  ELVSTED. 

\Breathingheavily.]     It  is  all  over  then.     Well 
well,  now  I  will  go,  Hedda. 

HEDDA. 
But  you  are  not  going  away  from  town  ? 

MRS.  ELVSTED. 

Oh,  I  don't  know  what  I  shall  do.  I  see 
nothing  but  darkness  before  me. 

[She  goes  out  by  the  hall  door 

HEDDA. 

[Stands  waiting  for  a  moment.]  So  you  are  not 
going  to  see  her  home,  Mr.  Lovborg  ? 

LOVBORG. 

I  ?  Through  the  streets  ?  Would  you  have 
people  see  her  walking  with  me  ? 

H  EDDA. 

Of  course  I  don't  know  what  else  may  have 
happened  last  night.  But  is  it  so  utterly  irre- 
trievable ? 

LOVBORG. 

It  will  not  end  with  last  night — I  know  that 
perfectly  well.  And  the  thing  is  that  now  I  have 
no  taste  for  that  sort  of  life  either,  I  won' I 


148  HEDDA    GABLER.  [ACT    III. 

begin  it  anew.     She  has  broken  my  courage  and 
ray  power  of  braving  life  out. 

HEDDA. 

[Looking  straight  before  her.]  So  that  pretty  little 
fool  has  had  her  fingers  in  a  man's  destiny.  [Looks 
at  him.]  But  all  the  same,  how  could  you  treat 
her  so  heartlessly. 

LOVBORG. 
Oh,  don't  say  that  it  was  heartless  ! 

HEDDA. 

To  go  and  destroy  what  has  filled  her  whole 
soul  for  months  and  years !  You  do  not  call  that 
heartless  ! 

LOVBORG. 
To  you  I  can  tell  the  truth,  Hedda. 

HEDDA. 
The  truth  ? 

LOVBORG. 

First  promise  me — give  me  your  word — that 
what  I  now  confide  to  you  Thea  shall  never 
know. 

HEDDA. 
I  give  you  my  word. 

LOVBORG. 

Good.  Then  let  me  tell  you  that  what  I  said 
just  now  was  untrue. 

HEDDA. 
About  the  manuscript  ? 


ACT   III.]  HEDDA    GABLER.  149 

LOVBORG. 

Yes.  I  have  not  torn  it  to  pieces — nor  thrown 
it  into  the  fiord. 

HEDDA. 
No,  no .     But — where  is  it  then  ? 

LOVBORG. 

I  have  destroyed  it  none  the  less — utterly 
destroyed  it,  Hedda ! 

HEDDA. 
I  don't  understand. 

LOVBORG. 

Thea  said  that  what  I  had  done  seemed  to  her 
like  a  child -murder. 

HEDDA. 
Yes,  so  she  said. 

LOVBORG. 

But  to  kill  his  child — that  is  not  the  worst 
thing  a  father  can  do  to  it. 

HEDDA. 
Not  the  worst  r 

LOVBORG. 

No.  I  wanted  to  spare  Thea  from  hearing  the 
worst. 

HEDDA. 

Then  what  is  the  worst  ? 

LOVBORG. 

Suppose  now,  Hedda,  that  a  man — in  the  small 
hours  of  the  morning — came  home  to  his  child's 
mother  after  a  night  of  riot  and  debauchery,  and 


150  HEDDA    GABLER.  [ACT    III. 

said  :  "  Listen — I  have  been  here  and  there — in 
this  place  and  in  that.  And  I  have  taken  our 
child  with  me — to  this  place  and  to  that.  And  I 
have  lost  the  child— utterly  lost  it.  The  devil 
knows  into  what  hands  it  may  have  fallen — who 
may  have  had  their  clutches  on  it." 

HEDDA. 

Well — but  when  all  is  said  and  done,  you  know 
— this  was  only  a  book — 

LOVBORG. 
Thea's  pure  soul  was  in  that  book. 

HEDDA. 
Yes,  so  I  understand. 

LOVBORG. 

And  you  can  understand,  too,  that  for  her  and 
me  together  no  future  is  possible. 

HEDDA. 
What  path  do  you  mean  to  take  then  ? 

LOVBORG. 

None.  I  will  only  try  to  make  an  end  of  it 
all — the  sooner  the  better. 

HEDDA. 

[A  step  nearer  him.]  PLilert  Lovborg — listen  to 
me. — Will  you  not  try  to — to  do  it  beautifully  ? 

LOVBORG. 

Beautifully  ?  [Smiling.]  With  vine-leaves  in 
my  hair,  as  you  used  to  dream  in  the  old 
days ? 


ACT  III.]  HEDDA  GABLER.  151 

HEDDA. 

No,  no.  I  have  lost  my  faith  in  the  the  vine- 
leaves.  But  beautifully  nevertheless  !  For  once 
in  a  way  ! — Good-bye  !  You  must  go  now — and 
do  not  come  here  any  more. 

LOVBORG. 

Good-bye,  Mrs.  Tesman.  And  give  George 
Tesman  my  love.  [He  is  on  the  point  of  going. 

HEDDA. 

No,  wait !  I  must  give  you  a  memento  to  take 
with  you. 

[She  goes  to  the  writing-table  and  opens 
the  drawer  and  the  pistol-case;  then 
returns  to  LOVBORG  with  one  of  the 

. 

pistols. 

LOVBORG. 
[Looks  at  herJ\     This  ?     Is  this  the  memento  ? 

HEDDA. 

[Nodding  slowly.]  Do  you  recognise  it  ?  It 
was  aimed  at  you  once. 

LOVBORG. 
You  should  have  used  it  then. 

HEDDA. 
Take  it — and  do  you  use  it  now. 

LOVBORG. 
[Puts  the  pistol  in  his  breast  pocket.]     Thanks  ! 

HEDDA. 

And  beautifully,  Eilert  Lovborg.  Promise  m« 
that  ! 


152  HEDDA    OABLER.  [ACT    III. 

LoVBORO. 

Good-bye,  Hedda  Gabler. 

[He  goes  out  by  the  hall  door. 

[HEDDA  listens  for  a  moment  at  the  door. 
Then  she  goes  up  to  the  writing-table, 
takes  out  the  packet  of  manuscript,  peeps 
under  the  cover,  draws  a  few  of  the  sheets 
half  out,  and  looks  at  them.  Next  she 
goes  over  and  seats  herself  in  the  arm- 
chair beside  the  stove,  with  the  packet  in 
her  lap.  Presently  she  opens  the  stove 
door,  and  then  the  packet. 

HEDDA. 

[  Throws  one  of  the  quires  into  ihejire  and  whispers 
to  herself. ]  Now  I  am  burning  your  child,  Thea  ! 
—  Burning  it,  curly-locks  !  [Throwing  one  or  two 
more  quires  into  the  stove. ~\  Your  child  and  Eilert 
Lovborg's.  [Throws  the  rest  in.~\  I  am  burning — 
1  am  burning  your  child. 


ACT  FOURTH. 

The  same  rooms  at  the  TESMANS'.  It  is  evening. 
The  drawing-room  is  in  darkness.  The  back 
room  is  lighted  by  the  hanging  lamp  over  the 
table.  The  curtains  over  the  glass  door  are 
drawn  close. 

HEDDA,  dressed  in  black,  walks  to  and  fro  in  the  dark 
room.  Then  she  goes  into  the  back  room  and 
disappears  for  a  moment  to  the  left.  She  is 
heard  to  strike  a  few  chords  on  the  piano.  Pre- 
sently she  comes  in  sight  again,  and  returns  to 
the  drawing-room. 

BERTA  enters  from  the  right,  through  the  inner  room, 
with  a  lighted  lamp,  which  she  places  on  the 
table  in  front  of  the  corner  settee  in  the  drawing- 
room.  Her  eyes  are  red  with  weeping,  and  she 
has  black  ribbons  in  her  cap.  She  goes  quietly 
and  circumspectly  out  to  the  right.  HEDDA  goes 
up  to  the  glass  door,  lifts  the  curtain  a  little  aside, 
and  looks  out  into  the  darkness. 

Shortly  aftertvards,  Miss  TESMAN,  in  mourning,  with 
a  bonnet  and  veil  on,  comes  in  from  the  hall. 
HEDDA  goes  towards  her  and  holds  out  her 
hand. 

Miss  TESMAN. 

Yes, Hedda,  here  I  am,  in  mourning  and  forlorn; 
for  now  my  poor  sister  has  at  last  found  peace. 


154  HEDDA  GABLER.  [ACT  IV. 

HEDDA. 

I  have  heard  the  news  already,  as  you  see. 
Tesman  sent  me  a  card. 

Miss  TESMAN. 

Yes,  he  promised  me  he  would.  But  neverthe- 
less I  thought  that  to  Hedda — here  in  the  house 
of  life — I  ought  myself  to  bring  the  tidings  of 
death. 

HEDDA. 
That  was  very  kind  of  you. 

Miss  TESMAN. 

Ah,  Rina  ought  not  to  have  left  us  just  now. 
This  is  not  the  time  for  Hedda's  house  to  be  a 
house  of  mourning. 

HEDDA. 

[Changing  the  subject. ]  She  died  quite  peacefully, 
did  she  not,  Miss  Tesman  ? 

Miss  TESMAN. 

Oh,  her  end  was  so  calm,  so  beautiful.  And 
then  she  had  the  unspeakable  happiness  of  seeing 
George  once  more — and  bidding  him  good  bye. — 
Has  he  not  come  home  yet  ? 

HEDDA. 

No.  He  wrote  that  he  might  be  detained.  But 
won't  you  sit  down  ? 

Miss  TESMAN. 

No  thank  you,  my  dear,  dear  Hedda.  I  should 
like  to,  but  I  have  so  much  to  do.  I  must  prepare 
my  dear  one  for  her  rest  as  well  as  I  can.  She 
shall  go  to  her  grave  looking  her  best. 


ACT    IV.]  HEDDA    GABLER.  155 


HEDDA. 
Can  I  not  help  you  in  any  way  ? 

Miss  TESMAN. 

Oh,  you  must  not  think  of  it !  Hedda  Tesman 
must  have  no  hand  in  such  mournful  work.  Nor 
let  her  thoughts  dwell  on  it  either — not  at  this 
time. 

HEDDA. 
One  is  not  always  mistress  of  one's  thoughts — 

Miss  TESMAN. 

[Continuing.]  Ah  yes,  it  is  the  way  of  the  would. 
At  home  we  shall  be  sewing  a  shroud;  and  here 
there  will  soon  be  sewing  too,  I  suppose — but  of 
another  sort,  thank  God  ! 

GEORGE  TESMAN  enters  by  the  hall  door. 

HEDDA. 
Ah,  you  have  come  at  last  ! 

TESMAN. 

You  here,  Aunt  Julia?  With  Hedda?  Fancy 
that ! 

Miss  TESMAN. 

I  was  just  going,  my  dear  boy.  Well,  have  you 
done  all  you  promised  ? 

TESMAN. 

No ;  I'm  really  afraid  I  have  forgotten  half  of 
it.  I  must  come  to  you  again  to-morrow.  To-day 
my  brain  is  all  in  a  whirl.  I  can't  keep'  my 
thoughts  together. 


156  HEDDA    GABLER.  [ACT    IV. 

Miss  TESMAN. 

Why,  my  dear  George,  you  mustn't  take  it  in 
this  way. 

TESMAN. 
Mustn't ?     How  do  you  mean  ? 

Miss  TESMAN. 

Even  in  your  sorrow  you  must  rejoice,  as  I  do — 
rejoice  that  she  is  at  rest. 

TESMAN. 

Oh  yes,  yes — you  are  thinking  of  Aunt  Rina. 

HEDDA. 
You  will  feel  lonely  now,  Miss  Tesman. 

Miss  TESMAN. 

Just  at  first,  yes.  But  that  will  not  last  very 
long,  I  hope.  I  daresay  I  shall  soon  find  an  occu- 
pant for  poor  Rina's  little  room. 

TESMAN. 
Indeed  ?    Who  do  you  think  will  take  it  ?   Eh  ? 

Miss  TESMAN. 

Oh,  there's  always  some  poor  invalid  or  other  hi 
want  of  nursing,  unfortunately. 

HEDDA. 

Would  you  really  take  such  a  burden  upon  you 
again  ? 

Miss  TESMAN. 

A  burden!  Heaven  forgive  you,  child — it  has 
been  no  burden  to  me. 


ACT  IV.]  HEDDA  GAULEH.  15? 

HEDDA. 

But  suppose  you  had  a  total  stranger  on  your 
hands — 

Miss  TESMAN. 

Oh,  one  soon  makes  friends  with  sick  folk  ;  and 
it's  such  an  absolute  necessity  for  me  to  have  some 
one  to  live  for.  Well,  heaven  be  praised,  there 
may  soon  be  something  in  this  house,  too,  to  keep 
an  old  aunt  busy. 

HEDDA. 
Oh,  don't  trouble  about  anything  here. 

TESMAN. 

Yes,  just  fancy  what  a  nice  time  we  three  might 
have  together,  if ? 

HEDDA. 
If ? 

TESMAN. 

[Uneasily.]  Oh,  nothing.  It  will  all  come  right. 
Let  us  hope  so — eh  ? 

Miss  TESMAN. 

Well  well,  I  daresay  you  two  want  to  talk  to 
each  other.  [Smiling.']  And  perhaps  Hedda  may 
have  something  to  tell  you  too,  George.  Good-bye  ! 
I  must  go  home  to  Rina.  [Turning  at  the  door.] 
How  strange  it  is  to  think  that  now  Rina  is  with 
me  and  with  my  poor  brother  as  well ! 

TESMAN, 
Yes,  fancy  that,  Aunt  Julia  !    Eh  ? 

[Miss  TESMAN  goes  out  by  the  hall  door. 


158  HEDDA  GABLER.  [ACT  IV. 

HEDDA. 

[Follows  TESMAN  coldly  and  searchingly  with  her 
eyes.]  I  almost  believe  your  Aunt  Rina's  death 
affects  you  more  than  it  does  your  Aunt  Julia. 

TESMAN. 

Oh,  it's  not  that  alone.  It's  Eilert  I  am  so 
terribly  uneasy  about. 

HEDDA. 

[Quickly.]     Is  there  anything  new  about  him  ? 

TESMAN. 

I  looked  in  at  his  rooms  this  afternoon,  intend- 
ing to  tell  him  the  manuscript  was  in  safe  keeping. 

HEDDA. 
Well,  did  you  not  find  him  ? 

TESMAN. 

No.  He  wasn't  at  home.  But  afterwards  I  met 
Mrs.  Elvsted,  and  she  told  me  that  he  had  been 
here  early  this  morning. 

HEDDA. 
Yes,  directly  after  you  had  gone. 

TESMAN. 

And  he  said  that  he  had  torn  his  manuscript  to 
pieces — eh  ? 

HEDDA. 
Yes,  so  he  declared. 

TESMAN. 

Why,  good  heavens,  he  must  have  been  com- 
pletely out  of  his  mind !  And  I  suppose  you 
thought  it  best  not  to  give  it  back  to  him,  Hedda  ? 


ACT  IV.]  HEDDA  GABLER.  159 

HEDDA. 
No,  he  did  not  get  it. 

TESMAN. 
But  of  course  you  told  him  that  we  had  it  ? 

HEDDA. 
No.    [Quickly.]  Did  you  tell  Mrs.  Elvsted  ? 

TESMAN. 

No  ;  I  thought  I  had  better  not.  But  you  ought 
to  have  told  him.  Fancy,  if,  in  desperation,  he 
should  go  and  do  himself  some  injury  !  Let  me 
have  the  manuscript,  Hedda  !  I  will  take  it  to  him 
at  once.  Where  is  it  ? 

HEDDA. 

[Cold  and  immovable,  leaning  on  the  arm-chair .]  I 
have  not  got  it. 

TESMAN. 

Have  not  got  it  ?  What  in  the  world  do  you 
mean  ? 

HEDDA. 

I  have  burnt  it — every  line  of  it. 

TESMAN. 

[  With  a  violent  movement  of  terror.]  Burnt !  Burnt 
Eilert's  manuscript ! 

HEDDA. 
Don't  scream  so.     The  servant  might  hear  you. 

TESMAN. 

Burnt !    Why,  good  God !    No,  no,  no  !  It's 

impossible ! 

HEDDA. 
It  is  so,  nevertheless. 


ifiO  HEDDA    GABLER.  [ACT    IV. 

TESMAN. 

Do  you  know  what  you  have  done,  Hedda  ?  It's 
unlawful  appropriation  of  lost  property.  Fancy 
that !  Just  ask  Judge  Brack,  and  he'll  tell  you 
what  it  is. 

HEDDA. 

I  advise  you  not  to  speak  of  it — either  to  Judge 
Brack,  or  to  any  one  else. 

TESMAN. 

But  how  could  you  do  anything  so  unheard-of? 
What  put  it  into  your  head  ?  What  possessed  you  ? 
Answer  me  that — eh  ? 

HEDDA. 

[Suppressing  an  almost  imperceptible  smile.]  I  did 
it  for  your  sake,  George. 

TESMAN. 
For  my  sake  ! 

HEDDA. 

This  morning,  when  you  told  me  about  what  he 
had  read  to  you 

TESMAN. 
Yes  yes — what  then  ? 

HEDDA. 
You  acknowledged  that  you  envied  him  his  work. 

TESMAN. 
Oh,  of  course  I  didn't  mean  that  literally. 

HEDDA. 

No  matter — I  could  not  bear  the  idea  that  any 
one  should  throw  you  into  the  shade. 


ACT    IV.]  MEDDA    GABLER.  i  6l 

TESMAN. 

[In  an  outburst  of  mingled  doubt  and  joy .]  Hedda  ! 
Oh,  is  this  true  ?  But — but — I  never  "knew  you 
show  your  love  like  that  before.  Fancy  that ! 

HEDDA. 

Well,  I  may  as  well  tell  you  that — just  at  this 
time —  [hnpatietitly,  breaking  ojj.]  No,  no  ;  you 
can  ask  Aunt  Julia.  She  will  tell  you,  fast 
enough. 

TESMAN. 

Oh,  I  almost  think  I  understand  you,  Hedda ! 
[Clasps  his  hands  together.]  Great  heavens!  do  you 
really  mean  it !  Eh  ? 

HEDDA. 
Don't  shout  so.    The  servant  might  hear. 

TESMAN. 

[Laughing  in  irrepressible  glee.]  The  servant1 
Why,  how  absurd  you  are,  Hedda.  It's  only  my  old 
Berta  !  Why,  I'll  tell  Berta  myself. 

HEDDA. 

[Clenching  her  hands  together  in  desperation.]  Oh. 
it  is  killing  me,— it  is  killing  me,  all  this  ! 

TESMAN. 
What  is,  Hedda  ?     Eh  ? 

HEDDA. 

[Coldly,  controlling  herself.]  All  this — absurdity 
— George. 

TESMAN. 
Absurdity  !    Do  you  see  anything  absurd  in  my 


162  HEDDA    OABLER.  [ACT    IV 

being  overjoyed  at  the  news  !     But  after  all — 
perhaps  I  had  better  not  say  anything  to  Berta. 


HEDDA. 
Oh why  not  that  too  ? 

TESMAN. 

No,  no,  not  yet !  But  I  must  certainly  tell  Aunt 
Julia.  And  then  that  you  have  begun  to  call  me 
George  too  !  Fancy  that !  Oh,  Aunt  Julia  will  be 
so  happy — so  happy  ! 

HEDDA. 

When  she  hears  that  I  have  burnt  Eilert  Lov- 
borg's  manuscript — for  your  sake  ? 

TESMAN. 

No,  by-the-bye — that  affair  of  the  manuscript — 
of  course  nobody  must  know  about  that.  But  that 
you  love  me  so  much,1  Hedda — Aunt  Julia  must 
really  share  my  joy  in  that  !  I  wonder,  now, 
whether  this  sort  of  thing  is  usual  in  young  wives  ? 
Eh? 

HEDDA. 

I  think  you  had  better  ask  Aunt  Julia  that  ques- 
tion too. 

TESMAN. 

I  will  indeed,  some  time  or  other.  [Looks  uneasy 
and  downcast  again.]  And  yet  the  manuscript — • 
the  manuscript !  Good  God  !  it  is  terrible  to  think 
what  will  become  of  poor  Eilert  now. 

Literally,  "That  you  burn  for  me." 


ACT    IV.]  HEDDA    GABLER.  16'3 

MRS.  ELVSTED,  dressed  as  in  the  first  Act,  with 
hat  and  cloak,  enters  by  the  hall  door. 

MRS.  ELVSTED. 

[Greets  them  hurriedly,  and  says  in  evident  agita- 
tion.]    Oh,  dear  Hedda,  forgive  my  coming  again. 

HEDDA. 
What  is  the  matter  with  you,  Thea  ? 


Something  about  Eilert  Txivborg  again  —  eh  ? 

MRS.  ELVSTED. 

Yes  !  I  am  dreadfully  afraid  some  misfortune  has 
happened  to  him. 

HEDDA. 
[Seises  her  arm.]     Ah,  —  do  you  mink  so  : 

TESMAN. 

Why,  good  Lord  —  what  makes  you  think  that, 
Mrs.  Elvsted  ? 

MRS.  ELVSTED. 

I  heard  them  talking  of  him  at  my  boarding- 
hou^e  —  just  as  I  came  in.  Oh,  the  most  incredible 
rumours  are  afloat  about  him  to-day. 

TESMAN. 

Yes,  fancy,  so  I  heard  too  !  And  I  can  bear 
witness  that  he  went  straight  home  to  bed  last 
night.  Fancy  that  ' 

HEDDA. 
Well,  what  did  they  say  at  the  boarding  house  ? 


164  HEDDA   GABLER.  [ACT  IV. 

MRS.  ELVSTED. 
Oh,  I  couldn't  make  out  anything  clearly.   Either 

they  knew   nothing  definite,  or  else .     They 

stopped  talking  when  they  saw  me ;  and  1  did  not 
dare  to  ask. 

TESMAN. 

[Moving  about  uneasily.]  We  must  hope — we 
must  hope  that  you  misunderstood  them,  Mrs. 
Elvsted. 

MRS.  ELVSTED. 

No,  no  ;  I  am  sure  it  was  of  him  they  were  talk- 
ing. And  I  heard  something  about  the  hospital 
or — 

TESMAN. 
The  hospital? 

HEDDA. 
No — surely  that  cannot  be  ! 

MRS.  ELVSTED. 

Oh,  I  was  in  such  mortal  terror  !  I  went  to  his 
lodgings  and  asked  for  him  there. 

HEDDA. 
You  could  make  up  your  mind  to  that,  Thea! 

MRS.  ELVSTED. 

What  else  could  I  do  ?  I  really  could  bear  the 
suspense  no  longer. 

TESMAN. 
But  you  didn't  find  him  either — eh  ? 

MRS.  ELVSTED. 

No.  And  the  people  knew  nothing  about  him. 
He  hadn't  been  home  since  yesterday  afternoon, 
they  said. 


ACT  IV.]  HEDDA   GABLER.  l65 

TESMAN. 
Yesterday  !     Fancy,  how  could  they  say  that  ? 

MRS.  ELVSTED. 

Oh,  I  am   sure  something   terrible   must   have 
happened  to  him. 

TESMAN. 

Hedda  dear — how  would  it  be  if  I  were  to  go 
and  make  inquiries ? 

HEDDA. 

No,   no — don't   you    mix  yourself  up    in     this 
affair. 

JUDGE  BRACK,  with  his  hat  in  his  hand,  enters 
by  the  hall  door,  which  BERTA  opens,  and 
closes  behind  him.  He  looks  grave  and  bows 
in  silence. 

TESMAN. 
Oh,  is  that  you,  my  dear  Judge  ?     Eh  ? 

BRACK. 

Yes.     It  was  imperative  1  should  see  you  this 
evening. 

TESMAN. 

I  can  see  you  have  heard  the  news  about  Aunt 
Rina  ? 

BRACK. 

Yes,  that  among  other  things. 

TESMAN. 

Isn't  it  sad — eh  ? 

BRACK. 

Well,  my  dear  Tesman,  that  depends  on  how 
you  look  at  it. 


166  HEDDA   GABLER.  [ACT  IV. 

TESMAX. 

[Looks  doubtfully  at  him.]  Has  anything 
else  happened  ? 

BRACK. 
Yes. 

HEDDA. 
[In  suspense.]     Anything  sad,  Judge  Brack  ? 

BRACK. 

That,  too,  depends  on  how  you  look  at  it,  Mrs. 
Tesman. 

MRS.  ELVSTED. 

[Unable  to  restrain  her  anxiety.]  Oh !  it  is 
something  about  Eilert  Lovborg  I 

BRACK. 

[With  a  glance  at  her.]  What  makes  you 
think  that,  Madam  ?  Perhaps  you  have  already 
heard  something ? 

MRS.  ELVSTED. 
[In  confusion.]     No,  nothing  at  all,  but 

TESMAN. 
Oh,  for  heaven's  sake,  tell  us  ! 

BRACK. 

[Shrugging  his  shoulders.]  Well,  I  regret  to 
say  Eilert  Lovborg  has  been  taken  to  the  hospital. 
He  is  lying  at  the  point  of  death. 

MRS.  ELVSTED. 
[Shrieks.}     Oh  God !  oh  God ! 

TESMAN. 
To  the  hospital !     And  at  the  point  of  death 


ACT  IV.]  HEDDA  CABLF.R.  l6? 

HEDDA. 
[Involuntarily.]     SosoorTthen  - 

MRS.   ELVSTED. 
[  Wailing.']     And  we  parted  in  anger,  Hedda  ! 

HEDDA. 
[  n  'hitpers.]     Thea—  Thea—  be  careful  ! 

MRS.  ELVSTED. 
Xoi   heeding  her.]      I    must    go   to    him  !       I 


must  see  him  alive  ! 

BRACK. 
It  is  useless,  Madam.     No  one  will  be  admitted. 

MRS.  ELVSTED. 

Oh,  at  least  tell  me  what  has  happened  to  him  ? 
What  is  it  ? 

TESMAX. 

You  don't  mean  to  say  that  he  has  himself  - 
Eh? 

HEDDA. 

Yes,  I  am  sure  he  has. 

TESMAN. 
Hedda,  how  can  you  -  ? 

BRACK. 

[Keeping  hi*  eyes  fixed  upon  her.]  Unfortu- 
nately you  have  guessed  quite  correctly,  Mrs. 
Tesman. 

MRS    ELVSTED. 

Oh,  how  horrible  ! 

TESMAX. 
Himself,  then  '     Fancy  that  ' 


168  HEDDA  OABLER.  [ACT  IV. 

HEDDA. 
Shot  himself! 

BRACK. 
Rightly  guessed  again,  Mrs.  Tesman. 

MRS.  ELVSTED. 

[With  an  effort  at  self-control.]  When  did 
it  happen,  Mr.  Brack  ? 

BRACK. 
This  afternoon — between  three  and  four. 

TESMAN. 
But,  good  Lord,  where  did  he  do  it  ?  Eh  ? 

BRACK. 

[With  some  hesitation.]  Where?  Well — I 
suppose  at  his  lodgings. 

MRS.  ELVSTED. 

No,  that  cannot  be ;  for  I  was  there  between 
six  and  seven. 

BRACK. 

Well  then,  somewhere  else.  I  don't  know 
exactly.  I  only  know  that  he  was  found — — . 
He  had  shot  himself — in  the  breast. 

MRS.  ELVSTED. 

Oh,  how  terrible  !  That  he  should  die  like 
that! 

HEDDA. 
[To  BRACK.]  Was  it  in  the  breast? 

BRACK. 
Yes — as  1  told  you. 


ACT    IV.]  HEDDA     GABLER. 


HEDDA. 
Not  in  the  temple  ? 

BRACK. 
In  the  breast,  Mrs.  Tesman. 

HEDDA. 
Well,  well — the  breast  is  a  good  place,  too. 

BRACK. 
How  do  you  mean,  Mrs.  Tesman  r 

HEDDA. 
[Evasively.]     Oh,  nothing — nothing. 

TESMAN. 
And  the  wound  is  dangerous,  you  say — eh  ? 

BRACK. 

Absolutely  mortal.     The  end  has  probably  come 
by  this  time. 

MRS.  ELVSTED. 
Yes,  yes,  I  feel  it.     The  end  !     The  end  !     Oh, 

Hedda ! 

TESMAN. 
But  tell  me,  how  have  you  learnt  all  this? 

BRACK. 

[Curtly.]     Through  one  of  the  police.     A  man 
I  had  some  business  with. 

HEDDA. 
[In  a  clear  voice.]     At  last  a  deed  worth  doing  ' 

TESMAN. 

[Terrified.]     Good  heavens,  Hedda  !  what  are 
you  saying  ? 


170  HEDDA  GABLER.  [ACT  IV. 

HEDDA. 
I  say  there  is  beauty  in  this. 

BRACK. 
H'm,  Mrs.  Tesman 

TESMAN. 
Beauty  !     Fancy  that ! 

MRS.  ELVSTED. 

Oh,  Hedda,  how  can  you  talk  of  beauty  in 
such  an  act ! 

HEDDA. 

Eilert  Lovborg  has  himself  made  up  his  account 
with  life.  He  has  had  the  courage  to  do — the 
one  right  thing. 

MRS.  ELVSTED. 

No,  you  must  never  think  that  was  how  it  hap- 
pened !  It  must  have  been  in  delirium  that  he 
did  it. 

TESMAN. 
In  despair ! 

HEDDA. 
That  he  did  not.     I  am  certain  of  that. 

MRS.  ELVSTED. 

Yes,  yes !  In  delirium  !  Just  as  when  he  tore 
up  our  manuscript. 

BRACK. 

[Starting.]  The  manuscript  ?  Has  he  torn  that 
up  ? 

MRS.  ELVSTED. 
Yes,  last  night. 


ACT  IV.]  HEDDA   GABLER.  171 

TESMAN. 

[Whispers  softly.]  Oh,  Hedda,  we  shall  never 
get  over  this. 

BRACK. 
H'm,  very  extraordinary. 

TESMAN. 

[Moving  about  the  room.]  To  think  of  Eilert 
going  out  of  the  world  in  this  way  !  And  not 
leaving  behind  him  the  book  that  would  have 
immortalised  his  name 

MRS.  ELVSTED. 
Oh,  if  only  it  could  be  put  together  again  ! 

TESMAN. 

Yes,  if  it  only  could  !  I  don't  know  what  I 
would  not  give — 

MRS.  ELVSTED. 
Perhaps  it  can,  Mr.  Tesman. 

TESMAN. 
What  do  you  mean  ? 

MRS.  ELVSTED. 

[Searches  in  the  pocket  of  her  dress.]  Look 
here.  I  have  kept  all  the  loose  notes  he  used  to 
dictate  from. 

HEDDA. 
[A  step  forward.]     Ah ! 

TESMAN. 
You  have  kept  them,  Mrs.  Elvsted  !     Eh  ? 


172  HEDDA   OABLER.  [ACT  IV. 

MRS.  ELVSTED. 

Yes,   I   have  them   here.     I    put  them  in   my 
pocket    when     I    left    home.      Here    they     still 

are 

TESMAN. 
Oh,  do  let  me  see  them  ! 

MRS.  ELVSTED. 

[Hands   him   a    bundle   of  papers.]       But    they 
are  in  such  disorder — all  mixed  up. 

TESMAN. 

Fancy,    if   we    could    make    something  out  of 
them,  after  all !     Perhaps  if  we  two  put  our  heads 

together 

MRS.  ELVSTED. 
Oh  yes,  at  least  let  us  try 


TESMAN. 

We  will  manage  it!  We  must!  I  will 
dedicate  my  life  to  this  task. 

HEDDA. 
You,  George  ?     Your  life  ? 

TESMAN. 

Yes,  or  rather  all  the  time  I  can  spare.  My 
own  collections  must  wait  in  the  meantime. 
Hedda — you  understand,  eh  ?  I  owe  this  to 
Eilert's  memory. 

HEDDA. 
Perhaps. 

TESMAN. 

And  so,  my  dear  Mrs.  Elvsted,  we  will  give  our 
whole  minds  to  it.  There  is  no  use  in  brooding 


ACT    IV.]  HEDDA    GABLER.  173 


over  what  can't  be  undone — eh  ?     We  must  try 
to  control  our  grief  as  much  as  possible,  and 

MRS.  ELVSTED. 
Yes,  yes,  Mr.  Tesman,  I  will  do  the  best  I  can. 

TESMAN. 

Well  then,  come  here.  I  can't  rest  until  we 
have  looked  through  the  notes.  Where  shall  we 
sit  ?  Here  ?  No,  in  there,  in  the  back  room. 
Excuse  me,  my  dear  Judge.  Come  with  me, 
Mrs.  Elvsted. 

MRS.  ELVSTED. 
Oh,  if  only  it  were  possible  ! 

[TESMAN  and  MRS.  ELVSTED  go  into  the 
back  room.  She  takes  off  her  hat  and 
cloak.  They  both  sit  at  the  table  under 
the  hanging  lamp,  and  are  soon  deep  in 
an  eager  examination  of  the  papers. 
HEDDA  crosses  to  the  stave  and  sits  in 
the  arm-chair.  Presently  BRACK  goes 
up  to  her.'} 

HEDDA. 

[In  a  low  voice.]  Oh,  what  a  sense  of  freedom 
it  gives  one,  this  act  of  Eilert  Lovborg's. 

BRACK. 

Freedom,  Mrs.  Hedda  ?  Well,  of  course,  it  is 
a  release  for  him 

HEDDA. 

I  mean  for  me.  It  gives  me  a  sense  of  freedom 
to  know  that  a  deed  of  deliberate  courage  is  still 
possible  in  this  world,-— a  deed  of  spontaneous 
beauty. 


174  HEDDA  OABLER.  [ACT  IV. 

BRACK. 
[Smiling.']     H'm — my  dear  Mrs.  Hedda 

HEDDA. 

Oh,  I  know  what  you  are  going  to  say.  For 
you  are  a  kind  of  specialist  too,  like — you  know  ! 

BRACK. 

[Looking  hard  at  her.]  Eilert  Lovborg  was  more 
to  you  than  perhaps  you  are  willing  to  admit  to 
yourself.  Am  I  wrong  ? 

HEDDA. 

I  don't  answer  such  questions.  I  only  know 
that  Eilert  Lovborg  has  had  the  courage  to  live 
his  life  after  his  own  fashion.  And  then — the  last 
great  act,  with  its  beauty  !  Ah  !  that  he  should 
have  the  will  and  the  strength  to  turn  away  from 
the  banquet  of  life — so  early. 

BRACK. 

I  am  sorry,  Mrs.  Hedda, — but  I  fear  I  must  dis- 
pel an  amiable  illusion. 

HEDDA. 
Illusion  ? 

BRACK. 
Which  could  not  have  lasted  long  in  any  case. 

HEDDA. 
What  do  you  mean  ? 

BRACK. 

Eilert  Lovborg  did  not  shoot  himself — volun- 
tarily. 


ACT  IV.]  HEDDA   GABLER.  175 

HEDDA. 
Not  voluntarily  ? 

BRACK. 

No.     The  thing  did  not  happen  exactly  as  I 
told  it. 

HEDDA. 

[In  suspense.^     Have  you  concealed  something  ? 
What  is  it  ? 

BRACK. 

For  poor  Mrs.  Elvsted's  sake  I  idealised  the  facts 
a  little. 

HEDDA. 

What  are  the  facts  ? 

BRACK. 
First,  that  he  is  already  dead. 

HEDDA. 
At  the  hospital  ? 

BRACK. 
Yes — without  regaining  consciousness. 

HEDDA. 
What  more  have  you  concealed  ? 

BRACK. 
This — the  event  did  not  happen  at  his  lodgings. 

HEDDA. 
Oh,  that  can  make  no  difference. 

BRACK. 
Perhaps  it  may.     For  I  must  tell  you — Eilert 


176  HEDDA     GABLER.  [ACT    IV. 

Lovborg   was   found   shot    in — in    Mademoiselle 
Diana's  boudoir. 

HEDDA. 

[Makes  a  motion  as  if  to  rise,  but  sinks  back  again.] 
That  is  impossible,  Judge  Brack !  He  cannot 
have  been  there  again  to-day. 

BRACK. 

He  was  there  this  afternoon.  He  went  there, 
he  said,  to  demand  the  return  of  something  which 
they  had  taken  from  him.  Talked  wildly  about  a 

lost  child 

HEDDA. 
Ah — so  that  was  why 

BRACK. 

I  thought  probably  he  meant  his  manuscript ; 
but  now  I  hear  he  destroyed  that  himself.  So  I 
suppose  it  must  have  been  his  pocket-book. 

HEDDA. 

Yes,  no  doubt.  And  there — there  he  was 
found  ? 

BRACK. 

Yes,  there.  With  a  pistol  in  his  breast-pocket, 
discharged.  The  ball  had  lodged  in  a  vital  part. 

HEDDA. 
In  the  breast — yes. 

BRACK. 
No — in  the  bowels. 

HEDDA. 

[Looks  up  at  him  with  an  expression  of  loathing.] 
That  too  !  Oh,  what  curse  is  it  that  makes  every- 
thing I  touch  turn  ludicrous  and  mean  ? 


ACT  IV.]  HEDDA   GABLER.  177 

BRACK. 

There  is  one  point  more,  Mrs.  Hedda — anotner 
disagreeable  feature  in  the  affair. 

HEDDA. 
And  what  is  that  ? 

BRACK. 
The  pistol  he  carried 

HEDDA. 

[Breathless.]     Well  ?     What  of  it  ? 

BRACK. 
He  must  have  stolen  it. 

HEDDA. 

[Leaps  tip.]  Stolen  it !  That  is  not  true  !  He 
did  not  steal  it  ! 

BRACK. 

No  other  explanation  is  possible.  He  must 
have  stolen  it .  Hush  ! 

TESMAN  and  MRS.  ELVSTED  have  risen  from  the  table 
in  the  back  room,  and  come  into  the  drawing- 
room, 

TESMAN. 

[  With  the  papers  in  both  his  hands.  ]  Hedda  dear, 
it  is  almost  impossible  to  see  under  that  lamp 
Think  of  that ! 

HEDDA. 
Yes,  I  am  thinking. 

TESMAN. 

Would  you  mind  our  sitting  at  your  writing- 
table— eh  ? 

X  M 


178  HEDDA    GABLER.  [ACT    IV. 


HEDDA. 

If  you  like.  [Quickly.]  No,  wait !  Let  me 
clear  it  first ! 

TESMAN. 

Oh,  you  needn't  trouble,  Hedda.  There  is 
plenty  of  room. 

HEDDA. 

No  no,  let  me  clear  it,  I  say  •'  I  will  take  these 
things  in  and  put  them  on  the  piano.  There  ! 

[She  has  drawn  out  an  object,  covered  with 
sheet  music,  from  under  the  bookcase, 
places  several  other  pieces  of  music  upon 
it,  and  carries  the  whole  into  the  inner 
room,  to  the  left.  TESMAN  lays  the  scraps 
of  paper  on  the  writing-table,  and  moves 
the  lamp  there  from  the  corner  table.  He 
and  MRS.  ELVSTED  sit  down  and  proceed 
with  their  work.  HEDDA  returns. 

HEDDA. 

[behind  MRS.  ELVSTED'S  chair,  gently  ruffling  her 
hair.]  Well,  my  sweet  Thea, — how  goes  it  with 
Eilert  Lovborg's  monument  ? 

M  RS.  ELVSTED. 

[Looks  dispiritedly  up  at  her.]  Oh,  it  will  be  ter- 
ribly hard  to  put  in  order. 

TESMAN. 

We  must  manage  it.  I  am  determined  And 
arranging  other  people's  papers  is  just  the  work 
for  me. 

[HEDDA  goes  over  to  the  stove,  and  seats 
herself  on  one  of  the  footstools.  BRACK 
stands  over  her,  leaning  on  the  arm-chair. 


ACT  IV.]  HEDHA  OAIJLKR.  179 

HEDDA. 

[  Whispers.]     What  did  you  say  about  the  pistol  ? 

BRACK. 
[Softly.]  That  he  must  have  stolen  it. 

HEDDA. 
Why  stolen  it  ? 

BRACK. 

Because  every  other  explanation  ought  to  be 
impossible,  Mrs.  Hedda. 

HEDDA. 
Indeed  ? 

BRACK. 

[Glances  at  her.]     Of  course  Eilert  Lovborg  was 
here  this  morning.     Was  he  not  ? 

HEDDA. 
Yes. 

BRACK. 
Were  you  alone  with  him  ? 

HEDDA. 
Part  of  the  time. 

BRACK. 

Did    you  not   leave    the    room  whilst   he  was 
here  ? 

HEDDA. 
No. 

BRACK. 

Try  to  recollect.     Were  you  not  out  of  the  room 
a  moment  ? 

HEDDA. 
Yes,  perhaps  just  a  moment — out  in  the  hall. 


180  HEDDA   G  ABLER.  [ACT  IV. 

BRACK. 

And  where  was  your  pistol-case  during  that 
time  ? 

HEDDA. 
I  had  it  locked  up  in 

BRACK. 
Well,  Mrs.  Hedda  ? 

HEDDA. 
The  case  stood  there  011  the  writing-table. 

BRACK. 

Have  you  looked  since,  to  see  whether  both 
the  pistols  are  there  ? 

HEDDA. 
No. 

BRACK. 

Well,  you  need  not.  I  saw  the  pistol  found  in 
Lovborg's  pocket,  and  I  knew  it  at  once  as  the 
^ne  I  had  seen  yesterday— and  before,  too. 

HEDDA. 
Have  you  it  with  you  ? 

BRACK. 
No  ;  the  police  have  it. 

HEDDA. 
What  will  the  police  do  with  it  ? 

BRACK. 
Search  till  they  find  the  owner. 

HEDDA. 
Do  you  think  they  will  succeed 


ACT  IV.]  HEDDA  GABLER.  181 

BRACK. 

[Bends  over  her  and  whispers.]  No,  Hedda  Gabler 
— not  so  long  as  I  say  nothing. 

HEDDA. 

[Looks  frightened  at  him.}  And  if  you  do  not  say 
nothing, — what  then  ? 

BRACK. 

[Shrugs  his  shoulders.}  There  is  always  the  possi- 
bility that  the  pistol  was  stolen. 

HEDDA. 
[Firmly.]     Death  rather  than  that. 

BRACK. 

[Smiling.]  People  say  such  things — but  they 
don't  do  them. 

HEDDA. 

[  Without  replying.}  And  supposing  the  pistol  was 
not  stolen,  and  the  owner  is  discovered  ?  What 
then  ? 

BRACK. 
Well,  Hedda — then  comes  the  scandal. 

HEDDA. 

The  scandal ! 

BRACK. 

Yes,  the  scandal — of  which  you  are  so  mortally 
afraid.  You  will,  of  course,  be  brought  before 
the  court — both  you  and  Mademoiselle  Diana. 
She  will  have  to  explain  how  the  thing  happened 
— whether  it  was  an  accidental  shot  or  murder. 
Did  the  pistol  go  off  as  lie  was  trying  to  take  it 
out  of  his  pocket,  to  threaten  her  with  ?  Or  did 
she  tear  the  pistol  out  of  his  hand,  shoot  him,  and 


182  HEDDA    GABLER.  [ACT    IV. 

push  it  back  into  his  pocket  ?  That  would  be 
quite  like  her ;  for  she  is  an  able-bodied  young 
person,  this  same  Mademoiselle  Diana. 

HEDDA. 

But  /  have  nothing  to  do  with  all  this  repulsive 
business. 

BRACK. 

No.  But  you  will  have  to  answer  the  question: 
Why  did  you  give  Eilert  Lovborg  the  pistol  ?  And 
what  conclusions  will  people  draw  from  the  fact 
that  you  did  give  it  to  him  ? 

HEDDA. 

[Lets  her  head  sink.]  That  is  true.  I  did  not 
think  of  that. 

BRACK. 

Well,  fortunately,  there  is  no  danger,  so  long  as 
I  say  nothing. 

HEDDA. 

[Looks  up  at  him.]  So  I  am  in  your  power,  Judge 
Brack.  You  have  me  at  your  beck  and  call,  from 
this  time  forward. 

BRACK. 

[  Whispers  softly]  Dearest  Hedda — believe  me 
— I  shall  not  abuse  my  advantage. 

HEDDA. 

I  am  in  your  power  none  the  less.  Subject  to 
your  will  and  your  demands.  A  slave,  a  slave 
then  !  [Rises  impettious/y.]  No,  I  cannot  endure 
the  thought  of  that !  Never  : 

BRACK. 

[Looks  half-mockinglif  at  her.]  People  generally 
get  used  to  the  inevitable. 


ACT  IV.]  HEDDA  GABLER.  183 

HEDDA. 

[Returns  his  look.]  Yes,  perhaps.  [She.  crosses 
to  the  writing-table.  Suppressing  an  involuntary  smile, 
she  imitates  TESMAN'S  intonations.]  Well  ?  Are  you 
getting  on,  George  ?  Eh  ? 

TESMAN. 

Heaven  knows,  dear.  In  any  case  it  will  be 
the  work  of  months. 

HEDDA. 

[As  before.]  Fancy  that '  [Passes  her  hands 
softly  through  MRS.  ELVSTED'S  hair.]  Doesn't  it 
seem  strange  to  you,  Thea  ?  Here  are  you  sitting 
with  Tesman — just  as  you  used  to  sit  with  Eilert 
Lovborg  ? 

MRS.  ELVSTED 

Ah,  if  I  could  only  inspire  your  husband  in  the 
same  way  ! 

HEDDA 
Oh,  that  will  come  too — in  time. 

TESMAN. 

Yes,  do  you  know,  Hedda — I  really  think  1 
begin  to  feel  something  of  the  sort.  But  won't 
you  go  and  sit  with  Brack  again  ? 

HEDDA. 
Is  there  nothing  I  can  do  to  help  you  two  ? 

TESMAN. 

No,  nothing  in  the  world.  [Turning  his  head.]  I 
trust  to  you  to  keep  Hedda  company,  my  dear  Brack' 

BRACK. 

[  With  a  glance  at  HEDDA.]  With  the  very  greatest 
of  pleasure. 


184  HEDDA  GABI.EH.  [ACT  IV. 

HEDDA. 

Thanks.     But   I  am  tired  this  evening.     I  will 
go  in  and  lie  down  a  little  on  the  sofa. 

TESMAN. 
Yes,  do  dear — eh  ? 

[HEDDA  goes  into  the  back  room  and  draws 
the  curtains.  A  short  pause.  Suddenly 
she  is  heard  playing  a  wild  dance  iw  the 


MRS.   ELVSTED. 
[Starts from  her  chair.]     Oh — what  is  that? 

TESMAN. 

[Runs  to  the  doonvay.]  Why,  my  dearest  Hedda 
— don't  play  dance-music  to-night !  Just  think 
of  Aunt  Rina  !  And  of  Eilert  too  ! 

HEDDA. 

[Puts  her  head  out  between  the  curtains]  And  of 
Aunt  Julia.  And  of  all  the  rest  of  them. — After 
this,  I  will  be  quiet.  [Closes  the  curtains  again.] 

TESMAN. 

[At  the  writing-table.]  It's  not  good  for  her  to 
see  us  at  this  distressing  work.  I'll  tell  you  what, 
Mrs.  Elvsted, — you  shall  take  the  empty  room  at 
Aunt  Julia's,  and  then  I  will  come  over  in  the 
evenings,  and  we  can  sit  and  work  there — eh  ? 

HEDDA. 

[7»  the  inner  room.]  I  hear  what  you  are  saying, 
Tesman.  But  how  am  /  to  get  through  the  even- 
ings out  here  ? 


ACT  IV.]  HEDDA   GABLER.  185 

TESMAN. 

[Turning  over  the  papers.]  Oh,  I  daresay  Judge 
Brack  will  be  so  kind  as  to  look  in  now  and  then, 
even  though  I  am  out. 

BRACK. 

[In  the  arm-chair,  calls  out  gaily J]  Every  blessed 
evening,  with  all  the  pleasure  in  life,  Mrs.  Tesman ! 
We  shall  get  on  capitally  together,  we  two  ! 

HEDDA. 

[Speaking  loud  and  clear '.]  Yes,  don't  you  flatter 
yourself  we  will,  Judge  Brack  ?  Now  that  you 

are  the  one  cock  in  the  basket 

[A  shot  is  heard  within.  TESMAN,  MRS. 
ELVSTED,  and  BRACK  leap  to  their  feet. 

TESMAN. 

Oh,  now  she  is  playing  with  those  pistols 
again. 

[He  throws  back  the  curtains  and  runs  in, 
followed  by  MRS.  ELVSTED.  HEDDA  lies 
stretched  on  the  sofa,  lifeless.  Confusion 
and  cries.  BERTA  enters  in  alarm  from 
the  right. 

TESMAN. 

[Shrieks  to  BRACK.]  Shot  herself !  Shot  herself 
in  the  temple  !  Fancy  that ! 

BRACK. 

[Half -fainting  in  the  arm-chair.]  Good  God ! 
— people  don't  do  such  things 


THE   MASTER   BUILDER 

(1892) 


CHARACTERS 

HALYARD  SOLNESS,  Master  Builder. 

ALINE  SOLNESS,  his  wife. 

DOCTOR  HERDAL,  physician. 

KNUT  BROVIK,  formerly  an  architect,  now  in  SOLNESS'S 

employment. 

RAGNAR  BROVIK,  Ms  son,  draughtsman. 
KAIA  FOSLI,  his  niece,  book-keeper. 
Miss  HILDA  WANGEL. 
Some  Ladies. 
A  Crowd  in  the  street. 

« 

The  action  passes  in  and  abinti  SOLNESS'S  house. 


THE   MASTER  BUILDER. 

PLAY  IN  THREE  ACTS. 


ACT  FIRST. 

A  plainly-furnished  work-room  in  the  house  oj 
HALYARD  SOLNESS.  Folding  doors  on  the  left 
lead  out  to  the  hall.  On  the  right  is  the  door 
leading  to  the  inner  rooms  of  the  house.  At  the 
back  is  an  open  door  into  the  draughtsmen's 
office.  In  front,  on  the  left,  a  desk  with  books, 
papers  and  writing  materials.  Further  back 
than  the  folding  door,  a  stove.  In  the  right-hand 
corner,  a  sofa,  a  table,  and  one  or  two  chairs. 
On  the  table  a  water-bottle  and  glass.  A  smaller 
table,  with  a  rocking-chair  and  arm-chair,  in 
front  on  the  right.  Lighted  lamps,  with  shades, 
on  the  table  in  the  draughtsmen's  office,  on  the 
table  in  the  corner,  and  on  the  desk. 

In  the  draughtsmen's  office  sit  KNUT  BROVIK  and  his 
son  RAGNAR,  occupied  with  plans  and  calculations. 
At  the  desk  in  the  outer  office  stands  KAIA  FOSLI, 
writing  in  the  ledger.  KNUT  BROVICK  is  a  spare 
old  man  with  white  hair  and  beard.  He  wears 
a  rather  threadbare  but  well-brushed  black  coat, 
spectacles,  and  a  somewhat  discoloured  white 


190  THE    MASTER    BUILDER.  [ACT    I. 


neckcloth.  RAGNAR  BROVIK  is  a  well-dressed, 
light-haired  man  in  his  thirties,  with  a  slight 
stoop.  KAIA  FOSLI  is  a  slightly  built  girl,  a 
little  over  twenty,  carefully  dressed,  and  delicate- 
looking.  She  has  a  green  shade  (tver  her  eyes. — 
All  three  go  on  working  for  some  time  in 
silence. 

KNUT  BROVIK. 

[Rises  suddenly,  as  if  in  distress,  from  the  table; 
breathes  heavily  and  laboriously  as  he  comes  forward 
into  the  doo/-way.]  No,  I  can't  bear  it  much 
longer  ! 

KAIA. 

[Going  up  to  him.]  You  are  feeling  very  ill  this 
evening,  are  you  not,  uncle  ? 

BROVIK. 
Oh,  I  seem  to  get  worse  every  day. 

RAGNAR. 

[Has  risen  and  advances.]  You  ought  to  go 
home,  father.  Try  to  get  a  little  sleep — 

BROVIK. 

[Impatiently.]  Go  to  bed,  I  suppose  ?  Would 
you  have  me  stifled  outright  ? 

KAIA. 
Then  take  a  little  walk. 

RAGNAR. 
Yes,  do.     I  will  come  with  you. 

BROVIK. 
[With  warmth.]     I  will  not  go  till  he  comes!      I 


ACT    I.]  THE    MASTER    BUILDER.  191 

am  determined  to  have  it  out  this  evening  with 
— [in  a  time  of  suppressed  bitterness] — with  him — 
with  the  chief. 

KAIA. 

[Anxiously.]     Oh   no,    uncle, — do    wait    awhile 
before  doing  that ! 

RAGNAR. 
Yes,  better  wait,  father  ! 

BROVIK. 

[Draws  his    breath    laboriously.]     Ha — ha —  !     / 
haven't  much  time  for  waiting. 

KAIA. 

[Listening.]     Hush  !     I   hear  him  on  the  stairs. 
[All  three  go  back  to  their  work.     A  short 
silence. 

HALVARD  SOLNESS  comes  in  through  the  hall  door. 
He  is  a  man  no  longer  young,  but  healthy  and 
vigorous,  with  close-cut  curly  hair,  dark  mous- 
tache and  dark  thick  eyebrows.  He  wears  a 
greyish-green  buttoned  jacket  with  an  upstanding 
collar  and  broad  lappels.  On  his  head  he  wears 
a  soft  grey  felt  hat,  and  he  has  one  or  two  light 
portfolios  under  his  arm. 

SOLNESS. 

[Near  the  door,  points  towards  the  draughtsmen's 
office,  and  asks  in  a  whisper  :]     Are  they  gone  ? 

KAIA. 

[Softly,  shaking  her  head.]     No. 

[She  takes  the  shade  off  her  eyes.     SOLNESS 
crosses   the   room,  throws  his  hat  on   a 


192  THE    MASTHR    BUILDER.  [ACT    I. 

chair,  places  the  portfolios  on  the  table 
by  the  sofa,  and  approaches  the  desk 
again.  KAIA  goes  on  writing  without 
intermission,  but  seems  nervous  and  un- 
easy. 

SOLNESS. 

[Aloud.]  What  is  that  you  are  entering,  Miss 
Fosli  ? 

KAIA. 

[Starts.]     Oh,  it  is  only  something  that 

SOLNESS. 

Let  me  look  at  it,  Miss  Fosli.  [Bends  over  her, 
pretends  to  be  looking  into  the  ledger,  and  whispers :] 
Kaia! 

KAIA. 

[Softly,  still  writing.]     Well  ? 

SOLNESS. 

Why  do  you  always  take  that  shade  off  when  I 
come  ? 

KAIA. 
[As  before.]     I  look  so  ugly  with  it  on. 

SOLNESS. 

[SmiKng.]  Then  you  don't  like  to  look  ugly, 
Kaia  ? 

KAIA. 

[Half  glancing  up  at  him.]  Not  for  all  the 
world.  Not  in  your  eyes, 

SOLNESS. 

[Strokes  her  hair  gently.]  Poor,  poor  little 
Kaia 


ACT  I.]  THE  MASTER  BUILDER.  193 

KAIA. 

[Bending  her  head.]     Hush — they  can  hear  you  ! 
[SoLNEss  strolls  across  the  room  to  the  right, 
turns   and    pauses    at  the   door   of  Ike 
draughtsmen's  office. 

SOLNESS. 
Has  any  one  been  here  for  me  ? 

RAGNAR. 

[Rising.]     Yes,  the  young  couple  who  want  a 
villa  built,  out  at  Lovstrand. 

SOLNESS. 

[Growling.]  Oh,  those  two!  They  must 
wait.  I  am  not  quite  clear  about  the  plans  yet. 

RAGNAR. 

[Advancing,  with  some  hesitation.]  They  were 
very  anxious  to  have  the  drawings  at  once. 

SOLNESS. 
[As  before.']     Yes,  of  course — so  they  all  are. 

BROVIK. 

[Looks  up.]  They  say  they  are  longing  so  to 
get  into  a  house  of  their  own. 

SOLNESS. 

Yes,  yes — we  know  all  that !  And  so  they  are 
content  to  take  whatever  is  offered  them.  They 
get  a — a  roof  over  their  heads — an  address — but 
nothing  to  call  a  home.  No  thank  you  !  In  that 
case,  let  them  apply  to  somebody  else.  Tell  them 
that,  the  next  time  they  call. 

X  N 


194  THE  MASTER  BUILDER.  [ACT  I. 

BROVIK. 

f  Pushes  his  glasses  up  on  to  his  forehead  and  looks 
in  astonishment  at  him.}  To  somebody  else  ? 
Are  you  prepared  to  give  up  the  commission  ? 

SoLNESS. 

[ Impatiently.}     Yes,  yes,  yes,  devil  take  it!     If 

that  is  to  be  the  way  of  it .     Rather  that,  than 

build  away  at  random.     [Vehemently.]     Besides,  I 
know  very  little  about  these  people  as  yet. 

BROVIK. 

The  people  are  safe  enough.  Ragnar  knows 
them.  He  is  a  friend  of  the  family.  Perfectly 
safe  people. 

SOLNESS. 

Oh,  safe — safe  enough  '  That  is  not  at  all 
what  I  mean.  Good  lord — don't  you  understand 
me  either  ?  [Angrily.']  I  won't  have  anything  to 
do  with  these  strangers.  They  may  apply  to 
whom  they  please,  so  far  as  I  am  concerned. 

BROVIK. 
[Rising.]     Do  you  really  mean  that  ? 

SOLNESS. 
[Sulkily. ]     Yes  I  do. — For  once  in  a  way. 

[He  comes  forward. 

[BROVIK  exchanges  a  glance  with  RAGNAR, 
who  makes  a  warning  gesture.  Then 
BROVIK  comes  into  the  front  room. 

BROVIK. 
May  I  have  a  few  words  with  you  ? 


ACT    I.]  THE    MASTER    BUILDER.  195 

SoLNESS. 

Certainly. 

BROVIK. 

[To  KAIA.]     Just  go  in  there   for   a  moment, 
Kaia. 

KAIA. 

[Uneasily.']     Oh,  but  uncle 

BROVIK. 

Do  as  I  say,  child.     And  shut  the  door  after 
you. 

[KAIA  goes  reluctantly  into  the  draughts- 
men's office,  glances  anxiously  and  im- 
ploringly at  SOLNESS,  and  shuts  the  door. 

BROVIK. 

[Lowering  his  voice  a  little.]     I   don't  want  the 
poor  children  to  know  how  ill  I  am. 

SOLNESS. 

Yes,  you   have   been    looking    very    poorly    of 
late. 

BROVIK. 

It  will  soon  be  all  over  with  me.     My  strength 
is  ebbing — from  day  to  day. 

SOLNESS. 
Won't  you  sit  down  ? 

BROVIK. 
Thanks — may  I  ? 

SOLNESS. 

[Placing  the  arm-chai-  more  conveniently.]     Here 
— take  this  chair. — And  now? 


1J)6  THE  MASTER  BUILDER.  [ACT  I. 

BROVIK. 

[Has  sealed  himself  with  difficulty.]  Well,  you 
see,  it's  about  Ragnar.  That  is  what  weighs 
most  upon  me.  What  is  to  become  of  him  ? 

SoLNESS. 

Of  course  your  son  will  stay  with  me  as  long  as 
ever  he  likes. 

BROVIK. 

But  that  is  just  what  he  does  not  like.  He 
feels  that  he  cannot  stay  here  any  longer. 

SOLNESS. 

Why,  I  should  say  he  was  very  well  off  here. 
But  if  he  wants  more  money,  I  should  not  mind 

BROVIK. 

No,  no!  It  is  not  that.  [Impatiently. }  But 
sooner  or  later  he,  too,  must  have  a  chance  of 
doing  something  on  his  own  account. 

SOLNESS. 

[Without  looking  at  him.]  Do  you  think  that 
Ragnar  has  quite  talent  enough  to  stand  alone  ? 

BROVIK. 

No,  that  is  just  the  heartbreaking  part  of  it— 
I  have  begun  to  have  my  doubts  about  the  boy. 
For  you  have  never  said  so  much  as — as  one 
encouraging  word  about  him.  And  yet  I  cannot 
but  think  there  must  be  something  in  him — he 
can't  be  without  talent. 

SoLNFSS. 

Well,  but  he  has  learnt  nothing — nothing 
thoroughly,  I  mean.  Except,  of  course,  to  draw. 


ACT  1.]  THE  MASTER  BUILDER.  1Q1 

BROVIK. 

[Looks  at  him  with  covert  hatred,  and  says 
hoarsely.]  You  had  learned  little  enough  of  the 
business  when  you  were  in  my  employment.  But 
that  did  not  prevent  you  from  setting  to  work— 
[breathing  with  difficulty] — and  pushing  your  way 
up,  and  taking  the  wind  out  of  my  sails — mine, 
and  so  many  other  people's. 

SOLNESS. 
Yes,  you  see — circumstances  favoured  me. 

BROVIK. 

You  are  right  there.  Everything  favoured  you. 
But  then  how  can  you  have  the  heart  to  let  me 
go  to  my  grave — without  having  seen  what  Ragnar 
is  fit  for  t  And  of  course  I  am  anxious  to  see  them 
married,  too — before  I  go. 

SOLNESS. 
[Sharply.]     Is  it  she  who  wishes  it  ? 

BROVIK. 

Not  Kaia  so  much  as  Ragnar — he  talks  about  it 
everyday.  [Appealing/?/.]  You  must— you  must 
help  him  to  get  some  independent  work  now  ! 
I  must  see  something  that  the  lad  has  done.  Do 
you  hear  ? 

SOLNESS. 

[Peevishly.]  Hang  it,  man,  you  can't  expect 
me  to  drag  commissions  down  from  the  moon  for 
him! 

BPOVIK. 

He  has  the  chance  of  a  capital  commission  at 
this  very  moment.  A  big  bit  of  work. 


198  THE  MASTER  BUILDER.  [ACT  i. 

SOLNESS. 
[Uneasily,  startled.]     Has  he  ' 

BROVIK. 
If  you  would  give  your  consent. 

SOLNESS. 
What  sort  of  work  do  you  mean  ? 

BROVIK. 

[  With  some  hesitation.']  He  can  have  the  build- 
ing of  that  villa  out  at  Lovstrand. 

SOLNESS. 
That !     Why  I  am  going  to  build  that  myself. 

BROVIK. 
Oh  you  don't  much  care  about  doing  it. 

SOLNESS. 

[Flaring  up.]  Don't  care  !  I  !  Who  dares  to 
say  that  ? 

BROVIK. 
You  said  so  yourself  just  now. 

SOLNESS. 

Oh,  never  mind  what  I  say. — Would  they  give 
Ragnar  the  building  of  that  villa  ? 

BROVIK. 

Yes.  You  see,  he  knows  the  family.  And  then 
— just  for  the  fun  of  the  thing — he  has  made 
drawings  and  estimates  and  so  forth 


ACT    I.]  THE    MASTER    BUILDER.  199 

SoLNESS. 

Are    they    pleased   with    the    drawings  ?     The 
people  who  will  have  to  live  in  the  house  ? 

BROVIK. 

Yes.     If  you   would  only  look   through  them 
and  approve  of  them — 

SOLNESS. 

Then  they  would  let  Ragnar  build  their  home 
for  them  ? 

BROVIK. 

They  were  immensely  pleased  with  his  idea. 
They  thought  it  exceedingly  original,  they  said. 

SOLNESS. 

Oho  !     Original  !     Not  the   old-fashioned  stuff 
that  /  am  in  the  habit  of  turning  out ! 

BROVIK. 
It  seemed  to  them  different. 

SOLNESS. 

[With  suppressed  irritation.]     So  it  was  to  see 
Ragnar  that  they  came  here — whilst  I  was  out ! 

BROVIK. 

They  came  to  call  upon  you — and  at  the  same 
time  to  ask  whether  you  would  mind  retiring 

SOLNESS. 
[Angrily.]     Retire  ?     I  ? 

BROVIK. 

In    case    you    thought    that     Ragnar's     draw- 
ings  


200  THE    MASTER    BUILDER.  [ACT    I. 

SoLNESS. 

I  !     Retire  in  favour  of  your  son  ! 

BROVIK. 
Retire  from  the  agreement,  they  meant. 

SOLNESS. 

.  Oh,  it  comes  to  the  same  thing.  [Laughs 
angrily.]  So  that  is  it,  is  it?  Halvard  Solness  is 
to  see  about  retiring  now  !  To  make  room  for 
younger  men  !  For  the  very  youngest,  perhaps  ! 
He  must  make  room  !  Room  !  Room  ! 

BROVIK. 

Why,  good  heavens !  there  is  surely  room  for 
more  than  one  single  man 

SOLNESS. 

Oh,  there's  not  so  very  much  room  to  spare 
either.  But,  be  that  as  it  may — I  will  never  re- 
tire !  1  will  never  give  way  to  anybody  !  Never 
of  my  own  free  will.  Never  in  this  world  will  1 
do  that ! 

BROVIK. 

[Rises  with  difficulty.]  Then  I  am  to  pass  out 
of  life  without  any  certainty  ?  Without  a  gleam 
of  happiness  ?  Without,  any  faith  or  trust  in 
Ragnar  ?  Without  having  seen  a  single  piece  of 
work  of  his  doing  ?  Is  that  to  be  the  way  of  it  ? 

SOLNESS. 

[Turns  half  aside,  and  mutters.]  H'm — don't  ask 
more  just  now. 


ACT  I.]  THE  MASTER  BUILDER.  201 

BROVIK. 

I  must  have  an  answer  to  this  one  question. 
Am  I  to  pass  out  of  life  in  such  utter  poverty  ? 

SoLNESS. 

[Seems  to  struggle  with  himself ;  finally  he  says,  in 
a  low  but  firm  voice  :]  You  must  pass  out  of  life 
as  best  you  can. 

BROVIK. 

Then  be  it  so.  [He  goes  up  the  room. 

SOLNESS. 

[Following  him,  half  in  desperation.]  Don't  you 
understand  that  I  cannot  help  it  ?  I  am  what  I 
am,  and  I  cannot  change  my  nature  ! 

BROVIK. 

No,  on ;  I  suppose  you  can't.  [Reels  and  sup- 
ports himself  against  the  sofa-table.]  May  I  have  a 
glass  of  water  ? 

SOLNESS. 

By  all  means.      [Fills  a  glass  and  hands  it  to  him. 

BROVIK. 

Thanks.      [Drinks  and  puts  the  glass  donm  again. 
[SOLNESS  goes  up  and  opens  the  door  of  tne 
draughtsmen's  officet 

SOLNESS. 

Ragnar — you  must  come  and  take  your  father 
home. 

RAGNAR  rises  quickly.     He  and  KAIA  come 
into  the  work-room. 

RAGNAR. 
What  is  the  matter,  father  ? 


THE  MASTER  BUILDER.  [ACT  I. 

BROVIK. 
Give  me  your  arm.     Now  let  us  go. 

RAGNAR. 

Very  well.     You  had  better  put  your  things  on, 
too,  Kaia. 

SOLNESS. 

Miss  Fosli  must  stay — just  fora  moment.  There 
is  a  letter  I  want  written. 

BROVIK. 

[Looks  at  SOLNESS.]     Good  night.     Sleep  well — 
if  you  can. 

SOLNESS. 
Good  night. 

[BROVIK  and  RAGNAR  go  out  by  the  hall- 
door.  KAIA  goes  to  the  desk.  SOLNESS 
stands  with  bent  head,  to  the  right,  by  the 
arm-chair. 

KAIA. 
[Dubiously]     Is  there  any  letter ? 

SOLNESS. 

[Curtly]     No,  of  course  not.     [Looks  sternly  at 
her]     Kaia ! 

KAIA. 
[Anxiously,  in  a  low  voice]     Yes  ! 

SOLNESS. 

[Points  imperatively  to  a  spot  on  thejloor]    Come 
here !     At  once  ! 

KAIA. 
[Hesitatingly]     Yes. 

SOLNESS. 
[As  before.]     Nearer ! 


ACT  I.]  THE  MASTER  BUILDER.  203 

KAIA. 
[Obeying.]     What  do  you  want  with  me? 

SOLNESS. 

[Looks  at  her  for  a  while.]     Is  it  you   I   have 
to  thank  for  all  this  ? 

KAIA. 
No,  no,  don't  think  that ! 

SOLNESS. 
But  confess  now — you  want  to  get  married  ! 

KAIA. 

[Softly.]     Ragnar  and  I  have  been  engaged  for 
four  or  five  years,  and  so — 

SOLNESS. 

And  so  you  think  it  time  there  were  an  end  01 
it.     Is  not  that  so  ? 

KAIA. 

Ragnar  and  Uncle  say  I  must.     So  I  suppose  I 
shall  have  to  give  in. 

SOLNESS. 

[More  gently.]      Kaia,  don't  you  really    care  a 
little  bit  for  Ragnar,  too  ? 

KAIA. 

I  cared  very  much  for  Ragnar  once — before  I 
came  here  to  you. 

SOLNESS. 
But  you  don't  now  ?     Not  in  the  least  ? 

KAIA. 

[Passionately,  clamping  her  hands  and  holding  them 
out    towards    him.]       Oh,    you    know    very    well 


204  THE    MASTER    BUILDER.  [ACT    I. 


there  is  only  one  person  I  care  for  now  !  One, 
and  one  only,  in  all  the  world  !  I  shall  never  care 
for  any  one  else. 

SOLNESS. 

Yes,  you  say  that.  And  yet  you  go  away  from 
me — leave  me  alone  here  with  everything  on  my 
hands. 

KAIA. 
But    could    I    not    stay    with    you,    even    if 

Ragnar ? 

SOLNESS. 

[Repitdiatitig  the  idea]  No,  no,  that  is  quite 
impossible.  If  Ragnar  leaves  me  and  starts  work 
on  his  own  account,  then  of  course  he  will  need 
you  himself. 

KAIA. 

[Wringing  her  hands]  Oh,  I  feel  as  if  I  could 
not  be  separated  from  you  !  It's  quite,  quite 
impossible  ! 

SOLNESS. 

Then  be  sure  you  get  those  foolish  notions  out 
of  Ragnar's  head.  Marry  him  as  much  as  you 
please — [Alters  his  tone.]  I  mean — don't  let  him 
throw  up  his  eood  situation  with  me.  For  then  I 
can  keep  you  too,  my  dear  Kaia. 

KAIA. 

Oh  yes,  how  lovely  that  would  be,  if  it  could 
only  be  managed ! 

SOLNESS. 

[Clasps  her  head  with  with  his  two  hands  and 
whispers]  For  I  cannot  get  on  without  you,  you 
see.  I  must  have  you  with  me  every  single  day. 


ACT  I.]  THE  MASTER  BUILDER.  205 

KAIA. 

[In  nervous  exaltation.}.     My  God  !  My  God  ! 

SOLNESS. 
[Kisses  her  hair.]      Kaia — Kaia  ! 

KAIA. 

[Sinks  dotvn  before  him.]     Oh,  how  good  you  are 
to  me  !     How  unspeakably  good  you  are  ! 

SOLNESS. 

[  Vehemently.]     Get  up !     For  goodness'  sake  get 
up  !     I  think  I  hear  some  one  ! 

[He  helps  her  to  rise.     She  staggers  over  to 
the  desk. 

MRS.  SOLNESS  enters  by  the  door  on  the  right.  She 
looks  thin  and  wasted  with  grief,  but  shows  traces 
of  bygone  beauty.  Blonde  ringlets.  Dresseed 
with  good  taste,  wholly  in  black.  Speaks  some- 
what slowly  and  in  a  plaintive  voice. 

MRS.  SOLNESS. 
[fn  the  doonvay.]     Halvard  ! 

SOLNESS. 
[Turns.]     Oh,  are  you  there,  my  dear ? 

MRS.  SOLNESS. 

\With  a  glance  at  KAIA.]     I  am  afraid  I  am  dis- 
turbing you. 

SOLNESS. 

Not  in  the  least.     Miss  Fosli  has  only  a  short 
letter  to  write. 

MRS.  SOLNESS. 
Yes,  so  I  see. 


206  THE    MASTER    BUILDER.  [ACT    I 

SOLNESS. 

What  do  you  want  with  me,  Aline  ? 

MRS.  SOLNESS. 

I  merely  wanted  to  tell  you  that  Dr.  Herdal  is 
in  the  drawing-room.  Won't  you  come  and  see 
him,  Halvard  ? 

SOLNESS. 

[Looks  sttspiciously  at  her.]  H'm — is  the  doctor 
so  very  anxious  to  talk  to  me  ? 

MRS.  SOLNESS. 

Well,  not  exactly  anxious.  He  really  came  to 
see  me  ;  but  he  would  like  to  say  how-do-you-do 
to  you  at  the  same  time. 

SOLNESS. 

[Laughs  to  himself.]  Yes,  I  daresay.  Well, 
you  must  ask  him  to  wait  a  little. 

MRS.  SOLNESS. 
Then  you  will  come  in  presently  ? 

SOLNESS. 

Perhaps  I  will.  Presently,  presently,  dear.  In 
a  little  while. 

MRS.  SOLNESS. 

[Glancing  again  at  KAIA.]  Well  now,  don't 
forget,  Halvard. 

[  Withdraws  and  closes  the  door  behind  her. 

KAIA. 

[Softly.]  Oh  dear,  oh  dear — I  am  sure  Mrs. 
Solness  thinks  ill  of  me  in  some  way  ! 


ACT    I.]  THE    MASTER    BUILDER.  207 

SoLNESS. 

Oh,  not  in  the  least.  Not  more  than  usual  at 
any  rate.  But  all  the  same,  you  had  better  go 
now,  Kaia. 

KAIA. 

Yes,  yes,  now  I  must   go. 

SOLNESS. 

[Severely.]  And  mind  you  get  that  matter  settled 
for  me.  Do  you  hear  ? 

KAIA. 
Oh,  if  it  only  depended  on  me 

SOLNESS; 

I  will  have  it  settled,  I  say  '  And  to-morrow 
too — not  a  day  later  ! 

KAIA. 

[Terrified.]  If  there's  nothing  else  for  it,  I  am 
quite  willing  to  break  off  the  engagement. 

SOLNESS. 

[Angrily.]  Break  it  off.  Are  you  mad?  Would 
you  think  of  breaking  it  off? 

KAIA. 

[Distracted.]  Yes,  if  necessary.  For  I  must — 
I  must  stay  here  with  you  !  I  can't  leave  you  ! 
That  is  utterly— utterly  impossible  ! 

SOLNESS. 

[With  a  sudden  outburst.]  But  deuce  take  it — 
how  about  Ragnar  then  !  It's  Ragnar  that  I 

KAIA. 

[Looks  at  him  with  terrified  eyes.]  It  is  chiefly 
on  Ragnar's  account,  that — that  you ? 


208  THE    MASTER    BUILDER.  [ACT    I. 

SoLNESS. 

[Collecting  himself.]  No,  no, of  course  not  !  You 
don't  understand  me  either.  [Gently  and  softly.] 
Of  course  it  is  you  I  want  to  keep — you  above 
everything,  Kaia.  But  for  that  very  reason,  you 
must  prevent  Ragnar,  too,  from  throwing  up  his 
situation.  There,  there, — now  go  home. 

KAIA. 
Yes,  yes — good-night,  then. 

SOLNESS. 

Good  night.  [As  she  is  going.]  Oh,  stop  a 
moment !  Are  Ragnar's  drawings  in  there  ? 

KAIA. 
I  did  not  see  him  take  them  with  him. 

SOLNESS. 

Then  just  go  and  find  them  for  me.  I  might 
perhaps  glance  over  them,  after  all. 

KAIA. 
[Happy.]     Oh  yes,  please  do  ! 

SOLNESS. 

For  your  sake,  Kaia  dear.  Now,  let  me  have 
them  at  once,  please. 

[KAIA  hurries  into  the  draughtsmen' x  office, 
searches  anxiously  in  the  table-drawer, 
finds  a  portfolio  and  brings  it  with  her. 

KAIA. 
Here  are  all  the  drawings. 

SOLNESS. 
Good.     Put  them  down  there  on  the  table. 


ACT  i.]  THE  MASTER  BUILDER.  209 

KAIA. 

[Putting  dawn  the  portfolio.]  Good  night,  then. 
[Beseechingly.]  And  please,  please  think  kindly 
of  me. 

SoLNESS. 

Oh,  that  I  always  do.  Good-night,  my  dear 
little  Kaia.  [Glances  to  the  right.]  Go,  go  now  ! 

MRS.  SOLNESS  and  DR.  HERDAL  enter  by  the  door  on 
the  right.  He  is  a  stoutish,  elderly  man,  nith  a 
round,  good-humoured  face,  clean  shaven,  with 
thin,  light  hair,  and  gold  spectacles. 

MRS.  SOLNESS. 

[Still  in  the  doonvay.]  Halvard,  I  cannot  keep 
the  doctor  any  longer. 

SOLNESS. 
Well  then,  come  in  here. 

MRS.  SOLNESS. 

[To  KAIA,  who  is  turning  down  the  desk  lamp.] 
Have  you  finished  the  letter  already,  Miss  Fosli  ? 

KAIA. 

[/«  confusion.]     The  letter ? 


SOLNESS. 
Yes,  it  was  quite  a  short  one. 

MRS.  SOLNESS. 
It  must  have  been  very  short, 

SOLNESS. 

You  may  go  now,  Miss  Fosli.     And  please  come 
in  good  time  to-morrow  morning. 

x  o 


210  THE    MASTER    BUILDER.  [ACT    I. 


KAIA. 
I  will  be  sure  to.     Good-night,  Mrs.  Solness. 

[She  goes  out  by  the  hall  door. 

MRS.  SOLNESS. 

She  must  be  quite  an  acquisition  to  you,  Hal- 
varcl,  this  Miss  Fosli. 

SOLNESS. 
Yes,  indeed.     She  is  useful  in  all  sorts  of  ways. 

MRS.  SOLNESS. 
So  it  seems. 

DR.  HERDAL. 
Is  she  good  at  book-keeping  too  ? 

SOLNESS. 

Well — of  course  she  has  had  a  good  deal  of 
practice  during  these  two  years.  And  then  she  is 
so  nice  and  willing  to  do  whatever  one  asks  of  her. 

MRS.  SOLNESS. 
Yes,  that  must  be  very  delightful 


SOLNESS. 

It  is.     Especially  when  one  is  not  too  much 
accustomed  to  that  sort  of  thing. 

MRS.  SOLNESS. 

[In  a  tone  of  gentle  remonstrance^     Can  you  say 
that,  Halvard  ? 

SOLNESS. 
Oh,  no,  no,  my  dear  Aline  ;  I  beg  your  pardon. 


ACT  I.]  THE  MASTER  BUILDER.  211 

MRS.  SOLNESS. 

There's  no  occasion. — Well  then,  doctor,  you 
will  come  back  later  on,  and  have  a  cup  of  tea  with 
us? 

DR.   HERDAL. 

I  have  only  that  one  patient  to  see,  and  then 
I'll  come  back. 

MRS.  SOLNESS. 
Thank  you. 

[She  goes  out  by  the  door  on  the  right. 

SOLNKSS. 
Are  you  in  a  hurry,  doctor  ? 

DR.   HERDAJL. 
No,  not  at  all. 

SOLNESS. 

May  I  have  a  little  chat  with  you  ? 

DR.  HERDAL. 
With  the  greatest  of  pleasure. 

SOLNESS. 

Then  let  us  sit  down.  [He  motions  the  doctor  to 
take  the  rocking-chair,  and  sits  down  himself  in  the 
arm  chair.  Looks  searchingly  at  him.]  Tell  me — 
did  you  notice  anything  odd  about  Aline  ? 

DR.   HERDAL. 
Do  you  mean  just  now,  when  she  was  here  ? 

SOLNESS. 

Yes,  in  her  manner  to  me.  Did  you  notice 
anything  ? 


212  THE  MASTER  BUILDER.  [ACT  I. 

DR.   HERDAL. 

[Smiling,]  Well,l  admit — one  couldn't  well  avoid 
noticing  that  your  wife — h'm 

SOLNESS. 
Well  ? 

DR.  HERDAL. 

— that  your  wife  is  not  particularly  fond  of  this 
Miss  Fosli. 

SOLNESS. 
Js  that  all  ?     I  have  noticed  that  myself. 

DR.  HERDAL. 
And  I  must  say  I  am  scarcely  surprised  at  it. 

SOLNESS. 
At  what  ? 

DR.   HERDAL. 

That  she  should  not  exactly  approve  of  your 
seeing  so  much  of  another  woman,  all  day  and 
every  day. 

SOLNESS. 

No,  no,  I  suppose  you  are  right  there — and 
Aline  too.  But  it's  impossible  to  make  any 
change. 

DR.  HERDAL. 

Could  you  not  engage  a  clerk  ? 

SOLNESS. 

The  first  man  that  came  to  hand  ?  No,  thank 
you — that  would  never  do  for  me. 

DR.  HERDAL. 

But  now,  if  your  wife ?     Suppose,  with  her 

delicate  health,  all  this  tries  her  too  much  f 


[ACT    I.  THE    MASTER    BUILDER.  213 

SoLNESS. 

Even  then  —  I  might  almost  say  —  it  can  make 
no  difference.  I  must  keep  Kaia  Fosli.  No  one 
else  could  fill  her  place. 

DR.  HERDAL. 
No  one  else  ? 

SOLNESS. 

No,  no  one. 


DR.  HERDAL. 

[Drawing  his  chair  closer.^  Now  listen  to  me,  my 
dear  Mr.  Solness.  May  I  ask  you  a  question,  quite 
between  ourselves  ? 

SOLNESS. 
By  all  means. 

DR.  HERDAL. 

Women,  you  see—  in  certain  matters,  they  have 
a  deucedly  keen  intuition— 

SOLNESS. 

They  have,  indeed.  There  is  not  the  least 
doubt  of  that.  But  -  ? 


DR.   HERDAL. 
Well,  tell  me  now — if  your  wife   can't  endure 

this  Kaia  Fosli ? 

SOLNESS. 
Well,  what  then  ? 

DR.  HERDAL. 

— may  she  not  have  just — just  the  least  little 
bit  of  reason  for  this  instinctive  dislike  ? 

• 

SOLNESS. 
[Looks  at  him  and  rises.]     Oho  ! 


214  THE    MASTER    BUILDER.  [ACT    I. 


DR.   HERDAL. 
Now  don't  be  offended — but  hasn't  she  ? 

SoLNESS. 

[With  curl  decision.]     No. 

DR.  HERDAL. 
No  reason  of  any  sort  ? 

SOLNESS. 
No  other  reason  than  her  own  suspicious  nature. 

DR.  HERDAL. 

I  know  you  have  known  a  good  many  women  in 
your  time. 

SOLNESS. 
Yes,  I  have. 

DR.  HERDAL. 

And  have  been  a  good  deal  taken  with  some  of 
them,  too. 

SOLNESS. 
Oh  yes,  I  don't  deny  it. 

DR.   HERDAL. 

But  as    regards   Miss  Fosli,  then  ?      There   is 
nothing  of  that  sort  in  the  case  ? 

SOLNESS. 
No;  nothing  at  all — on  my  side. 

DR.  HERDAL. 
But  on  her  side  ? 

SOLNESS. 

I  don't  think  you  have  any  right  to  ask  that 
question,  doctor. 


ACT  I.]  THE  MASTER  BUILDER.  215 

DR.  HERDAL. 

Well,  you  know,  we  were  discussing  your  wife's 
intuition. 

SOLNESS. 

So  we  were.  And  for  that  matter — [lowers  his 
roice] — Aline' s  intuition,  as  you  call  it — in  a  cer- 
tain sense,  it  has  not  been  so  far  astray. 

DR.  HERDAL. 
Aha  !  there  we  have  it ! 

SOLNESS. 

[Sits  down.]  Doctor  Herdal — I  am  going  to 
tell  you  a  strange  story — if  you  care  to  listen  to 
it. 

DR.   HERDAL. 
I  like  listening  to  strange  stories. 

SOLNESS. 

Very  well  then.  I  daresay  you  recollect  that  I 
took  Knut  Brovik  and  his  son  into  my  employment 
— after  the  old  man's  business  had  gone  to  the 
dogs 

DR.  HERDAL. 
Yes,  so  I  have  understood. 

SOLNESS. 

You  see,  they  really  are  clever  fellows,  these 
two.  Each  of  them  has  talent  in  his  own  way. 
But  then  the  son  took  it  into  his  head  to  get  en- 
gaged ;  and  the  next  thing,  of  course,  was  that 
he  wanted  to  get  married — and  begin  to  build  on 
his  own  account.  That  is  the  way  with  all  these 
young  people. 


216  THE  MASTER  BUILDEK.  [ACT  I. 

DR.  HERDAL. 

[Laughing.]  Yes,  they  have  a  bad  habit  of 
wanting  to  marry. 

SOLNESS. 

Just  so.  But  of  course  that  did  not  suit  my 
plans ;  for  I  needed  Ragnar  myself— and  the  old 
man  too.  He  is  exceedingly  good  at  calculating 
bearing-strains  and  cubic  contents — and  all  that 
sort  of  devilry,  you  know. 

DR.  HERDAL. 
Oh  yes,  no  doubt  that's  indispensable. 

SOLNESS. 

Yes,  it  is.  But  Ragnar  was  absolutely  bent  on 
setting  to  work  for  himself.  He  would  hear  of 
nothing  else. 

DR.   HERDAL. 
But  he  has  stayed  with  you  all  the  same. 

SOLNESS. 

Yes,  I'll  tell  you  how  that  came  about.  One 
day  this  girl,  Kaia  Fosli,  came  to  see  them  on 
some  errand  or  other.  She  had  never  been  here 
before.  And  when  I  saw  how  utterly  infatuated 
they  were  with  each  other,  the  thought  occurred 
to  me  :  if  I  could  only  get  her  into  the  office 
here,  then  perhaps  Ragnar  too  would  stay  where 
he  is. 

DR.   HERDAL. 

That  was  not  at  all  a  bad  idea. 

SOLNESS. 

Yes,  but  at  the  time  I  did  not  breathe  a  word 
of  what  was  in  my  mind.  I  merely  stood  and 


ACT    I.]  THE    MASTER    BUILDER.  217 

looked  at  her — and  kept  on  wishing  intently  that 
I  could  have  her  here.  Then  I  talked  to  her  a 
little,  in  a  friendly  way — about  one  thing  and 
another.  And  then  she  went  away. 

DR.  HERDAL. 
Well  ? 

SoLNESS. 

Well  then,  next  day,  pretty  late  in  the  evening, 
when  old  Brovik  and  Ragnar  had  gone  home,  she 
came  here  again,  arid  behaved  as  if  I  had  made  an 
arrangement  with  her. 

DR.  HERDAL. 

An  arrangement  ?     What  about  ? 

SOLNESS. 

About  the  very  thing  my  mind  had  been  fixed 
on.  But  I  hadn't  said  one  single  word  about  it. 

DR.   HERDAL. 
That  was  most  extraordinary. 

SOLNESS. 

Yes,  was  it  not  ?  And  now  she  wanted  to  know 
what  she  was  to  do  here — whether  she  could  begin 
the  very  next  morning,  and  so  forth. 

DR.  HERDAL. 

Don't  you  think  she  did  it  in  order  to  be  with 
her  sweetheart  ? 

SOLNESS. 

That  was  what  occurred  to  me  at  first.  But  no, 
that  was  not  it.  She  seemed  to  drift  quite  away 
from  him — when  once  she  had  come  here  to 


218  THE  MASTER  BUILDER.  [ACT  I. 

DR.  HERDAL. 
She  drifted  over  to  you,  then  ? 

SOLNESS. 

Yes,  entirely.  If  I  happen  to  look  at  her  when 
her  back  is  turned,  I  can  tell  that  she  feels  it. 
She  quivers  and  trembles  the  moment  I  come  near 
her.  What  do  you  think  of  that? 

DR.  HERDAL. 
H'm — that's  not  very  hard  to  explain. 

SOLNESS. 

Well,  but  what  about  the  other  thing  ?  That 
she  believed  I  had  said  to  her  what  I  had  only 
wished  and  willed — silently — inwardly — to  my- 
self? What  do  you  say  to  that  ?  Can  you  explain 
that,  Dr.  Herdal  ? 

DR.  HERDAL. 
No,  I  won't  undertake  to  do  that. 

SOLNESS. 

I  felt  sure  you  would  not ;  and  so  I  have  never 
cared  to  talk  about  it  till  now. — But  it's  a  cursed 
nuisance  to  me  in  the  long  run,  you  understand. 
Here  have  I  got  to  go  on  day  after  day  pretend- 
ing  .  And  it's  a  shame  to  treat  her  so,  too, 

poor  girl.  [Vehemently, ,]  But  I  cannot  do  any- 
thing else.  For  if  she  runs  away  from  me — then 
Ragnar  will  be  off  too. 

DR.  HERDAL. 

And  you  have  not  told  your  wite  the  rights  ot 
the  story? 


ACT  i.]  THE  MASTER  BUILDER.  219 

SOLNESS. 
No. 

DR.   HERDAL. 
Then  why  on  earth  don't  you  ? 

SOLNESS. 

[Looks  fixedly  at  him,  and  says  in  a  low  voice ;] 
Because  I  seem  to  find  a  sort  of — of  salutary  self- 
torture  in  allowing  Aline  to  do  me  an  injustice. 

DR.  HERDAL. 

[Shakes  his  head.]  I  don't  in  the  least  under- 
stand what  you  mean. 

SOLNESS. 

Well,  you  see — it  is  like  paying  off  a  little  bit  of 
a  huge,  immeasurable  debt — 

DR.  HERDAL. 
To  your  wife  ? 

SOLNESS. 

Yes ;  and  that  always  helps  to  relieve  one's 
mind  a  little.  One  can  breathe  more  freely  for  a 
while,  you  understand. 

DR.  HERDAL. 

No,  goodness   knows,  I    don't   understand    at 

all 

SOLNESS. 

[Breaking  off,  rises  again.]  Well,  well,  well — 
then  we  won't  talk  any  more  about  it.  [He 
saunters  across  the  room,  returns,  and  stops  beside  the 
table.  Looks  at  the  doctor  with  a  sly  smile.]  I  sup- 
pose you  think  you  have  drawn  me  out  nicely  now, 
doctor  ? 


220  THE   MASTER    BUILDER.  [ACT   I. 


DR.   HERDAL. 

[With  some  irritation.]  Drawn  you  out  ?  Again 
I  have  not  the  faintest  notion  what  you  mean,  Mr. 
Solness. 

SoLNESS. 

Oh  come,  out  with  it;  I  have  seen  it  quite 
clearly,  you  know. 

DR.  HERDAL. 
What  have  you  seen  ? 

SOLKESS. 

[In  a  lotv  voice,  slowly.]  That  you  have  been 
quietly  keeping  an  eye  upon  me. 

DR.  HERDAL. 

That  /  have  !  And  why  in  all  the  world  should 
I  do  that? 

SOLNESS. 

Because   you  think  that  I [Passionately .] 

Well,  devil  take  it — you  think  the  same  of  me  as 
Aline  does. 

DR.   HERDAL. 
And  what  does  she  think  about  you  ? 

SOLNESS. 

[Having  recovered  his  self-control.^  She  has 
begun  to  think  that  I  am — that  I  am — ill. 

DR.  HERDAL. 

Ill  !  You  !  She  has  never  hinted  such  a  thing 
to  me.  Why,  what  can  she  think  is  the  matter 
with  you  ? 


ACT    I.]  THE    MASTER    BUILDER.  221 

SoLNESS. 

[Leans  over  the  back  of  the  chair  and  whispers.] 
Aline  has  made  up  her  mind  that  I  am  mad.  That 
is  what  she  thinks. 

DR.   HERDAL. 
[Rising.]     Why,  my  dear  good  fellow ! 


SOLNESS. 

Yes,  on  my  soul  she  does !  I  tell  you  it  is  so. 
And  she  has  got  you  to  think  the  same  !  Oh,  I 
can  assure  you.  doctor,  I  see  it  in  your  face  as 
clearly  as  possible.  You  don't  take  me  in  so 
easily,  I  can  tell  you. 

DR.   HERDAL. 

[Looks  at  him  in  amazement.]  Never,  Mr.  Solness 
— never  has  such  a  thought  entered  my  mind. 

SOLNESS. 

[With  an  incredulous  smile .]  Really?  Has  it 
not? 

DR.  HERDAL. 

No,  never  !  Nor  your  wife's  mind  either,  I  am 
convinced.  I  could  almost  swear  to  that. 

SOLNESS. 

Well,  I  wouldn't  advise  you  to.  For,  in  a  cer- 
tain sense,  you  see,  perhaps — perhaps  she  is  not 
so  far  wrong  in  thinking  something  of  the  kind. 

DR.  HERDAL. 
Come  now,  I  really  must  say 


222  THE    MASTER    BUILDER.  [ACT    I. 

SoLNESS. 

[Interrupting,  with  a  siveep  of  his  hand.]  Well, 
well,  my  dear  doctor — don't  let  us  discuss  this  any 
further.  We  had  better  agree  to  differ.  [Changes 
to  a  tone  of  quiet  amusement.]  But  look  here  now, 

doctor — h  m 

DR.  HERDAL. 

Well  ? 

SOLNESS. 

Since  you  don't  believe  that  I  am — ill — and 
crazy — and  mad,  and  so  forth — 

DR.  HERDAL. 
What  then  ? 

SOLNESS. 

Then  I  daresay  you  fancy  that  I  am  an  ex- 
tremely happy  man. 

DR.  HERDAL. 
Is  that  mere  fancy  ? 

SOLNESS. 

[Laughs.]  No,  no — of  course  not !  Heaven 
forbid  !  Only  think — to  be  Solness  the  master 
builder  !  Halvard  Solness  !  What  could  be  more 
delightful  ? 

DR.  HERDAL. 

Yes,  I  must  say  it  seems  to  me  you  have  had 
the  luck  on  your  side  to  an  astounding  degree. 

SOLNESS. 

[Suppresses  a  gloomy  smile]  So  I  have.  I  can't 
complain  on  that  score. 

DR.   HERDAL. 
First  of  all   that  grim  old  robbers'  castle  was 


ACT    l.J  THE    MASTER    BUILDER.  223 

burnt  down  for  you.     And  that  was  certainly  a 
great  piece  of  luck. 

SoLNESS. 

[Seriously.]  It  was  the  home  of  Aline's  family. 
Remember  that. 

DR.  HERDAL. 
Yes,  it  must  have  been  a  great  grief  to  her. 

SOLNESS. 

She  has  not  got  over  it  to  this  day — not  in  al 
these  twelve  or  thirteen  years. 

DR.  HERDAL. 

Ah,  but  what  followed  must  have  been  the 
worst  blow  for  her. 

SOLNESS. 
The  one  thing  with  the  other. 

DR.  HERDAL. 

But  you— yourself — you  rose  upon  the  ruins. 
You  began  as  a  poor  boy  from  a  country  village — 
and  now  you  are  at  the  head  of  your  profession. 
Ah,  yes,  Mr.  Solness,  you  have  undoubtedly  had 
the  luck  on  your  side. 

SOLNESS. 

[Looking  at  him  with  embarrassment.^  Yes,  but 
that  is  just  what  makes  me  so  horribly  afraid. 

DR.  HERDAL. 

Afraid  ?  Because  you  have  the  luck  on  your 
side  ! 

SOLNESS. 

It  terrifies  me — terrifies  me  every  hour  of  the 
day.  For  sooner  or  later  the  luck  must  turn,  you 
see. 


224  THE  MASTER  BUILDER.  [ACT  I. 

DR.   HERDAL. 

Oh  nonsense !  What  should  make  the  luck 
turn  ? 

SoLNESS. 

\With  Jirm  assurance.}  The  younger  genera- 
tion. 

DR.  HERDAL. 

Pooh  !  The  younger  generation  !  You  are  not 
laid  on  the  shelf  yet,  I  should  hope.  Oh  no — your 
position  here  is  probably  firmer  now  than  it  has 
ever  been. 

SOLNESS. 

The  luck  will  turn.  I  know  it — I  feel  the  day 
approaching.  Some  one  or  other  will  take  it  into 
his  head  to  say  :  Give  me  a  chance  !  And  then 
all  the  rest  will  come  clamouring  after  him,  and 
shake  their  fists  at  me  and  shout  :  Make  room — 
make  room — make  room !  Yes,  just  you  see, 
doctor — presently  the  younger  generation  will 
come  knocking  at  my  door — 

DR.  HERDAL. 
\Laughing.]     Well,  and  what  if  they  do  ? 

SOLNESS. 

What  if  they  do  ?  Then  there's  an  end  of 
Halvard  Solness. 

[There  is  a  knock  at  the  door  on  the  left. 

SOLNESS. 

[Ste/'fo.]  What's  that  ?  Did  you  not  hear  some- 
thing ? 

DR.  HERDAL. 
Some  one  is  knocking  at  the  door. 


ACT    I.]  THE    MASTER    BUILDER.  225 


SoLNESS. 

[Loudly.]     Come  in. 

HILDA  W ANGEL  enters  by  the  hall  door.  She  is  of 
middle  height,  supple,  and  delicately  built.  Some- 
what sunburnt.  Dressed  in  a  tourist  costume, 
with  skirt  caught  up  for  walking,  a  sailor's  collar 
open  at  the  throat,  and  a  small  sailor  hat  on  her 
head.  Knapsack  on  back,  plaid  in  strap,  and 
alpenstock. 

HILDA. 
[Goes  straight  up  to  SOLNESS,  her  eyes  sparkling 

with  happiness.}     Good  evening  ! 

SOLNESS. 
[Looks  doubtfully  at  her.]     Good  evening 


HILDA. 

[Laughs.]     I  almost  believe  you  don't  recognise 
e! 

SOLNESS. 
No — Imustadmitthat — justfor  the  moment 


DR.  HERDAL. 

[Approaching.]  But  7  recognise  you,  my  dear 
young  lady — 

HILDA. 
[Pleased.]     Oh,  is  it  you  that 

DR.    HERDAL. 

Of  course  it  is.  [To  SOLNESS.]  We  met  at  one 
of  the  mountain  stations  this  summer.  [To  HILDA.] 
What  became  of  the  other  ladies  ? 

x  P 


226  THE  MASTER  BUILDER.  [ACT  i. 

HILDA. 
Oh,  they  went  westward. 

DR.   HERDAL. 

They  didn't  much  like  all  the  fun  we  used  to 
have  in  the  evenings. 

HILDA. 
No,  I  believe  they  didn't. 

DR.  HERDAL. 

[Holds  up  his  finger  at  her.]  And  I  am  afraid 
it  can't  be  denied  that  you  flirted  a  little  with 
us. 

HILDA. 

Well,  that  was  better  fun  than  to  sit  there 
knitting  stockings  with  all  those  old  women. 

DR.   HERDAL. 
[Laughs.]     There  I  entirely  agree  with  you  ! 

SOLNESS. 
Have  you  come  to  town  this  evening  ? 

HILDA. 
Yes,  I  have  just  arrived. 

DR.   HERDAL. 
Quite  alone,  Miss  Wangel  ? 

HILDA. 
Oh  yes  ! 

SOLNESS. 
Wangel  ?     Is  your  name  Wangel  ? 


ACT  I.]          THE  MASTER  BUILDER.  227 

HILDA. 

[Looks  in  amused  surprise  at  him.]  Yes,  of  course 
it  is. 

SOLNESS. 

Then  you  must  be  a  daughter  of  the  district 
doctor  up  at  Lysanger  ? 

HILDA. 

[As  before.]  Yes,  who  else's  daughter  should  I 
be? 

SOLNESS. 

Oh,  then  I  suppose  we  met  up  there,  that 
summer  when  I  was  building  a  tower  on  the  old 
church. 

HILDA. 

[More  seriously.]  Yes,  of  course  it  was  then 
we  met. 

SOLNESS. 

Well,  that  is  a  long  time  ago. 

HILDA. 
[Looks  hard  at  him.]    It  is  exactly  the  ten  years. 

SOLNESS. 

You  must  have  been  a  mere  child  then,  I  should 
think. 

HILDA. 

[Carelessly.]     Well,  I  was  twelve  or  thirteen. 

DR.   HERDAL. 

Is  this  the  first  time  you  have  ever  been  up  to 
town,  Miss  Wangel  ? 

HILDA. 
Yes,  it  is  indeed. 


228  THE    MASTER    BUILDER.  [ACT    I. 

SoLNESS. 

And  don't  you  know  any  one  here 

HILDA. 
Nobody  but  you.    And  of  course,  your  wife. 

SGLNESS. 
So  you  know  her,  too? 

HILDA. 

Only  a  little.  We  spent  a  few  days  together 
at  the  sanatorium. 

SOLNESS. 
Ah,  up  there  ? 

HILDA. 

She  said  I  might  come  and  pay  her  a  visit  if 
ever  I  came  up  to  town.  [Smiles.]  Not  that 
that  was  necessary. 

SOLNESS. 

Odd  that  she  should  never  have  mentioned  it. 
[HILDA  puts  her  stick  down  by  the  stove, 
takes  off  the  knapsack  and  lays  it  and  the 
plaid  on  the  sofa.  DR.  HERDAL  offers 
to  help  her.  SOLNESS  stands  and  gazes 
at  her. 

HILDA. 

[Going  towards  hi?n.]  Well,  now  1  must  ask  you 
to  let  me  stay  the  night  here. 

SOLNESS. 
I  am  sure  there  will  be  no  difficulty  about  that. 

HILDA. 

For  I  have  no  other  clothes  than  those  I  stand 
in,  except  a  change  of  linen  in  my  knapsack. 
And  that  has  to  go  to  the  wash,  for  it's  very  dirty. 


ACT   I.]  THE    MASTER    BUILDER.  229 

SoLNESS. 

Oh  yes,  that  can  be  managed.  Now  I'll  just  let 
ray  wife  know — 

DR.   HERDAL. 
Meanwhile  I  will  go  and  see  my  patient. 

SOLNESS. 
Yes,  do  ;  and  come  again  later  on. 

DR.  HERDAL. 

[Playfully,  with  a  glance  at  HILDA..]  Oh  that  I 
will,  you  may  be  very  certain  !  [Laughs.]  So 
your  prediction  has  come  true,  Mr.  Solness  ! 

SOLNESS. 

How  so  ? 

DR.   HERDAL. 

The  younger  generation  did  come  knocking  at 
your  door. 

SOLNESS. 

[Cheerfully.']  Yes,  but  in  a  very  different  way 
fjom  what  I  meant. 

DR.  HERDAL. 
Very  different,  yes.     That's  undeniable. 

[He  goes  out  by  the  hall-door.  SOLNESS 
opens  the  door  on  the  right  and  speaks 
into  the  side  room. 

SOLNESS. 

Aline  !  Will  you  come  in  here,  please.  Here 
is  a  friend  of  yours — Miss  Wangel. 


230  THE  MASTER  BUILDER.          [ACT  I. 

MRS.  SOLNESS. 

[Appears  in  the  doorway.]  Who  do  you  say  it 
is  ?  [Sees  HILDA.]  Oh,  is  it  you,  Miss  Wangel  ? 
[Goes  up  to  her  and  offers  her  hand.\  So  you  have 
come  to  town  after  all. 

SOLNESS. 

Miss  Wangel  has  this  moment  arrived ;  and 
she  would  like  to  stay  the  night  here. 

MRS.  SOLNESS. 
Here  with  us  ?     Oh  yes,  certainly. 

SOLNESS. 

Till  she  can  get  her  things  a  little  in  order,  you 
know. 

MRS.  SOLNESS. 

I  will  do  the  best  I  can  for  you.  It's  no  more 
than  my  duty.  I  suppose  your  trunk  is  coming 
on  later  ? 

HILDA. 
I  have  no  trunk. 

MRS.  SOLNESS. 

Well,  it  will  be  all  right,  I  daresay.  In  the 
meantime,  you  must  excuse  my  leaving  you  here 
with  my  husband,  until  I  can  get  a  room  made  a 
little  comfortable  for  you. 

SOLNESS. 

Can  we  not  give  her  one  of  the  nurseries? 
They  are  all  ready  as  it  is. 


ACT  I.]  THE  MASTER   BUILDER.  231 

MRS.  SOLNESS. 

Oh  yes.     There  we  have  room  and   to  spare. 
[To  HILDA.]     Sit  down  now,  and  rest  a  little. 

[She goes  out  to  the  right. 
[HILDA,  with  her  hands  behind  her  back, 
strolls  about  the  room  and  looks  at  various 
objects.  SOLNESS  stands  in  front,  beside 
the  table,  also  with  his  hands  behind  his 
back,  and  follows  her  with  his  eyes. 

HILDA. 

[Stops   and    looks  at  him.]     Have    you  several 
nurseries  ? 

SOLNESS. 
There  are  three  nurseries  in  the  house. 

HILDA. 

That's  a  lot.     Then  I  suppose  you  have  a  great 
many  children  ? 

SOLNESS. 

No.     We  have  no  child.     But  now  you  can  be 
the  child  here,  for  the  time  being. 

HILDA. 

For  to-night,  yes.     I  shall  not  cry.     I  mean  to 
sleep  as  sound  as  a  stone. 

SOLNESS. 
Yes,  you  must  be  very  tired,  I  should  think. 

HILDA. 

Oh  no  !     But  all  the  same —       It's  so  delicious 
to  lie  and  dream. 


THE    MASTER    BUILDER.  [ACT    I. 

SoLNESS. 

Do  you  dream  much  of  nights  ? 

HILDA. 

Oh  yes  !     Almost  always. 

SOLNESS. 
What  do  you  dream  about  most  ? 

HILDA. 

I    sha'n't  tell   you   to-night.     Another  time 
perhaps. 

[She  again  strolls  about  the  room,  stops  at 
the  desk  and  turns  over  the  books  and 
papers  a  little. 

SOLNESS. 

[Approaching.]       Are   you    searching    for   any- 
thing ? 

HILDA. 

No,  I  am  merely  looking  at  all   these   things. 
[Turns.]     Perhaps  I  mustn't? 

SOLNESS. 
Oh,  by  all  means. 

HILDA. 
Is  it  you  that  write  in  this  great  ledger? 

SOLNESS. 
No,  it's  my  book-keeper. 

H  ILDA. 
Is  it  a  woman  ? 

SOLNESS. 
[Smiles.']     Yes. 


ACT    I.]  THE    MASTER    BUILDER.  233 


HILDA. 
One  you  employ  here,  in  your  office  ? 

SoLNESS. 

Yes. 

HILDA. 
Is  she  married  ? 

SOLNESS. 
No,  she  is  single. 

HILDA. 
Oh,  indeed ! 

SOLNESS. 
But  I  believe  she  is  soon  going  to  be  married. 

HILDA. 
That's  a  good  thing  for  her. 

SOLNESS. 

But  not  such  a  good  thing  for  me.     For  then 
I  shall  have  nobody  to  help  me. 

HILDA. 

Can't  you  get  hold  of  some  one  else  who  will 
do  just  as  well  ? 

SOLNESS. 

Perhaps  you  would  stay  here  and — and  write 
in  the  ledger  ? 

HILDA. 

[Measures  him  with  a  glance.]     Yes,   I  daresay  ! 
No,  thank  you — nothing  of  that  sort  for  me. 

[She  again  strolls  across  the  room,  and  sits 
down  in  the  rocking-chair.  SOLNESS  too 
goes  to  the  table. 

HILDA. 
[Continuing.]     For  there  must  surely  be  plenty 


234-  THE    MASTER    BUILDER.  [\CT    I. 

of  other  things  to  be  done  here.     [Looks  smilingly 
at  him.]     Don't  you  think  so,  too? 

SOLNESS. 

Of  course.  First  of  all,  I  suppose,  you  want 
to  make  a  round  of  the  shops,  and  get  yourself 
up  in  the  height  of  fashion. 

HILDA. 
\Amused.}     No,  I  think  I  shall  let  that  alone  ! 

SOLNESS. 
Indeed  ? 

HILDA. 

For  you  must  know  I  have  run  through  all  my 
money. 

SOLNESS. 
[Lattghs.]     Neither  trunk  nor  money,  then  i 

HILDA. 

Neither  one  nor  the  other.  But  never  mind — 
it  doesn't  matter  now. 

SOLNESS. 
Come  now,  I  like  you  for  that. 

HILDA. 
Only  for  that? 

SOLNESS. 

For  that  among  other  things.  [Sits  in  the  arm- 
chair.] Is  your  father  alive  still  ? 

HILDA. 
Yes,  father's  alive. 

SOLNESS. 
Perhaps  you  are  thinking  of  studying  here  ? 


ACT  I.]          THE  MASTER  BUILDER.  235 

HILDA. 
No,  that  hadn't  occurred  to  me. 

SoLNESS. 

But  I  suppose  you  will  be  staying  for  some 
time  ? 

HILDA. 
That  must  depend  upon  circumstances. 

[She  sits  awhile  rocking  herself  and  looking 
at  him,  half  seriously,  half  with  a  sup- 
pressed smile.  Then  she  takes  off  her  hat 
and  puts  it  on  the  table  in  front  of  her. 

HILDA. 
Mr.  Solness  ! 

SOLNESS. 
Well? 

HILDA. 
Have  you  a  very  bad  memory  ? 

SOLNESS. 
A  bad  memory  ?     No,  not  that  I  am  aware  of. 

HILDA. 

Then  have  you  nothing  to  say  to  me  about 
what  happened  up  there  ? 

SOLNESS. 

[In  momentary  surprise.]  Up  at  Lysanger  ?  [/«- 
differently.]  Why,  it  was  nothing  much  to  talk 
about,  it  seems  to  me. 

HILDA. 

[Looks  reproachfully  at  him.]  How  can  you  sit 
there  and  say  such  things  ? 


23G  THE    MASTER    BUILDER.  [ACT    I. 

SoLNESS. 

Well,  then,  you  talk  to  me  about  it. 

HILDA. 

When  the  tower  was  finished,  we  had  grand 
doings  in  the  town. 

SOLNESS. 
Yes,  I  shall  not  easily  forget  that  day. 

HILDA. 

[Smiles.]  Will  you  not  ?  That  comes  well  from 
you. 

SOLNESS. 
Comes  well  ? 

HILDA. 

There  was  music  in  the  churchyard — and  many, 
many  hundreds  of  people.  We  school-girls  were 
dressed  in  white  ;  and  we  all  carried  flags. 

SOLNESS. 

Ah  yes,  those  flags — I  can  tell  you  I  remember 
them  ! 

HILDA. 

Then    you    climbed    right    up  the   scaffolding, 
straight   to  the   very  top  ;  and  you  had  a  great 
wreath  with  you  ;  and  you  hung  that  wreath  right  • 
away  up  on  the  weather-vane. 

SOLNESS. 

[Curtly  interrupting.]  I  always  did  that  in  those 
days.  It  is  an  old  custom. 

HILDA. 
It  was   so  wonderfully  thrilling  to  stand  below 


ACT    I.]  THE    MASTER    BUILDER.  237 

and  look  up  at  you.     Fancy,  if  lie  should  fall  over  ! 
He — the  roaster  builder  himself! 

SOLNESS. 

[As  if  to  divert  her  from  the  subject.]  Yes,  yes, 
yes,  that  might  very  well  have  happened,  too.  For 
one  of  those  white-frocked  little  devils, — she  went 
on  in  such  a  way,  and  screamed  up  at  me  so — 

HILDA. 

[Sparkling  nnth  pleasure.]  "  Hurra  for  Master 
Builder  Solness  ! "  Yes  ! 

SOLNESS. 

— and  waved  and  flourished  with  her  flag,  so  that 
I — so  that  it  almost  made  me  giddy  to  look  at  it. 

HILDA. 

[In  a  lower  voice,  seiiously.]  That  little  devil — 
that  was  /. 

SOLNESS. 

[Fixes  his  eyes  steadily  upon  her.]  I  am  sure  of  that 
now.  It  must  have  been  you. 

HILDA. 

[Lively  again.]  Oh,  it  was  so  gloriously  thrill- 
ing !  I  could  not  have  believed  there  was  a 
builder  in  the  whole  world  that  could  build  such  a 
tremendously  high  tower.  And  then,  that  you 
yourself  should  stand  at  the  very  top  of  it,  as  large 
as  life  !  And  that  you  should  not  be  the  least  bit 
dizzy  !  It  was  that  above  everything  that  made 
one — made  one  dizzy  to  think  of. 


238  THE    MASTER    BUILDER.  [ACT    I. 

SoLNESS. 

How    could    you   be    so   certain    that    I    was 

not ? 

HILDA. 

[Scouting  the  idea.]  No  indeed  !  Oh  no  !  I 
knew  that  instinctively.  For  if  you  had  been,  you 
could  never  have  stood  up  there  and  sung. 

SOLNESS. 

[Looks  at  her  in  astonishment].  Sung  ?  Did  / 
sing  ? 

HILDA. 
Yes,  I  should  think  you  did. 

SOLNESS. 

[Shakes  his  head.]  I  have  never  sung  a  note  in 
my  life. 

HILDA. 

Yes  indeed,  you  sang  then.  It  sounded  like 
harps  in  the  air. 

SOLNESS. 
[Thoughtfully.]     This  is  very  strange — all  this. 

HILDA. 

[Is  silent  awhile,  looks  at  him  and  says  in  a  low 
voice  :]  But  then, — it  was  after  that — that  the 
real  thing  happened. 

SOLNESS. 
The  real  thing  ? 

HILDA. 

[Sparkling  with  vivacity.]  Yes,  I  surely  don't 
need  to  remind  you  of  that  ? 


ACT    I.]  THE    MASTER    BUILDER.  239 

SoLNESS. 

Oh  yes,  do  remind  me  a  little  of  that,  too. 

HILDA. 

Don't  you  remember  that  a  great  dinner  was 
given  in  your  honour  at  the  Club  ? 

SOLNESS. 

Yes,  to  be  sure.  It  must  have  been  the  same 
afternoon,  for  I  left  the  place  next  morning. 

HILDA. 

And  from  the  Club  you  were  invited  to  come 
round  to  our  house  to  supper. 

SOLNESS. 

Quite  right,  Miss  Wangel.  It  is  wonderful  how 
all  these  trifles  have  impressed  themselves  on  your 
mind. 

HILDA. 

Trifles  !  I  like  that  !  Perhaps  it  was  a  trifle, 
too,  that  I  was  alone  in  the  room  when  you 
came  in  ? 

SOLNESS. 
Were  you  alone? 

HILDA. 
[Without  answering  him.]     You  didn't  call  me  a 

little  devil  then  ? 

* 
SOLNESS. 

No,  I  suppose  I  did  not. 

HILDA. 

You  said  I  was  lovely  in  my  white  dress,  and 
that  I  looked  like  a  little  princess. 


240  THE    MASTER    BUILDER.  [ACT    I. 

SoLNESS. 

I  have  no  doubt  you  did,  Miss  Wangel.— And 
besides — I  was  feeling  so  buoyant  and  free  that 
day — 

HILDA. 

And  then  you  said  that  when  I  grew  up  I  should 
be  your  princess. 

SOLNESS. 

[Laughing  a  little.]  Dear,  dear — did  I  say  that 
too? 

HILDA. 

Yes,  you  did.  And  when  I  asked  how  long  I 
should  have  to  wait,  you  said  that  you  would 
come  again  in  ten  years — like  a  troll — and  carry 
me  off — to  Spain  or  some  such  place.  And  you 
promised  you  would  buy  me  a  kingdom  there. 

SOLNESS. 

[As  before.]  Yes,  after  a  good  dinner  one  doesn't 
haggle  about  the  halfpence.  But  did  I  really 
say  all  that 

HILDA. 

[Laughs  to  herself.]  Yes.  And  you  told  me, 
too,  what  the  kingdom  was  to  be  called. 

SOLNESS. 
Well,  what  was  it? 

HILDA. 

It  was  to  be  called  the  kingdom  of  Orangia,1 
you  said. 

SOLNESS. 

Well,  that  was  an  appetising  name. 

'In  the  original  "  Appelsinia,"  "appelsin"  meaning 
"  orange." 


ACT  I.]          THE  MASTER  BUILDER.  24! 

HILDA. 

No,  I  didn't  like  it  a  bit ;  for  it  seemed  as 
though  you  wanted  to  make  game  of  me. 

SoLNESS. 

I  am  sure  that  cannot  have  been  my  intention. 

HILDA. 

No,  I  should  hope  not — considering  what  you 
did  next — 

SOLNESS. 
What  in  the  world  did  I  do  next  ? 

HILDA. 

Well,  Chat's  the  finishing  touch,  if  you  have 
forgotten  that  too.  I  should  have  thought  no 
one  could  help  remembering  such  a  thing  as 
that. 

SOLNESS. 

Yes,  yes,  just  give  me  a  hint,  and  then  per- 
haps— Well  ? 

HILDA. 

[Looks  fixedly  at  him.]  You  came  and  kissed  me, 
Mr.  Solness, 

SOLNESS. 
[Open-mouthed,  rising  from  Ids  chair.]     I  did  ! 

HILDA. 

Yes,  indeed  you  did.  You  took  me  in  both 
your  arms,  and  bent  my  head  back,  and  kissed  me 
— many  times. 

SOLNESS. 

Now   really,  my  dear  Miss  Wangel ! 

x  <i 


242  THE   MASTER   BUILDER.  [ACT  k. 

HILDA. 
[Rises.]     You  surely  cannot  mean  to  deny  it? 

SOLNESS. 
Yes,  I  do.     I  deny  it  altogether! 

HILDA. 

[Looks  scornfully  at  him.]    Oh,  indeed  J 

[She  turns  and  goes  slowly  close  up  to  the 
stove,  where  she  remains  standing  motion- 
less, her  face  averted  from  him,  her  hands 
behind  her  back.  Short  pause. 

SOLNESS. 

[Goes  cautiously  up  behind  her.]  Miss  Wangel ! 

• 
HILDA. 

[Is  silent  and  does  not  move.] 

SOLNESS. 

Don't  stand  there  like  a  statue.    You  must  have 
dreamt  all  this.     [Lays  his  hand  on  her  arm.]     Now 

just  listen 

HILDA. 
[Makes  an  impatient  movement  with  her  arm.] 

SOLNESS. 

[Asa  thought  jlashes  upon  him.]     Or !     Wait 

a  moment !     There  is  something  under  all  this, 
you  may  depend  ! 

HILDA. 
[Does  not  move.] 

SOLNESS. 
[In  a  low  voice,  but  with  emphasis.]     I  must  have 


ACT    I.]  THE    MASTER    BUILDER.  243 

thoi»ght  all  that.  I  must  have  wished  it — 
have  willed  it — have  longed  to  do  it.  And 
then .  May  not  that  be  the  explanation  ? 

HILDA. 

[Is  still  silent .] 

SOLNESS. 

[Impatiently.]     Oh  very  well,  deuce  take   it  all 
— then  I  did  do  it,  I  suppose. 

HILDA. 

[Turns  her  head  a  little,  but  without  looking  at  him.] 
Then  you  admit  it  now  ? 

SOLNESS. 
Yes — whatever  you  like. 

HILDA. 
You  came  and  put  your  arms  round  me  ? 

SOLNESS. 
Oh  yes  ! 

HILDA. 

And  bent  my  head  back  ? 

SOLNESS. 
Very  far  back. 

HILDA. 
And  kissed  me  ? 

SOLNESS. 
Yes,  I  did 

HILDA. 
Many  times  ? 

SOLNESS. 

As  many  as  ever  you  like. 


244  THE  MASTER  BUILDER.          [ACT  I. 

HILDA. 

[Turns  quickly  towards  him  and  has  once  more  the 
sparkling  expression  of  gladness  in  her  eyes]  Well, 
you  see,  I  got  it  out  of  you  at  last ! 

SOLNESS. 

[With  a  slight  smile]  Yes — just  think  of  my 
forgetting  such  a  thing  as  that. 

HILDA. 

[Again  a  little  sulky,  retreats  from  him]  Oh, 
you  have  kissed  so  many  people  in  your  time,  I 
suppose. 

SOLNESS. 

No,  you  mustn't  think  that  of  me.  [HILDA 
seats  herself  in  the  arm-chair.  SOLNESS  stands  and 
leans  against  the  rocking-chair.  Looks  observantly  at 
her]  Miss  Wangel  J 

'   HILDA. 
Yes! 

SOLNESS. 

How  was  it  now  ?  What  came  of  all  this — 
between  us  two  ? 

HILDA. 

Why,  nothing  more  came  of  it.  You  know  that 
quite  well.  For  then  the  other  guests  came  in, 
and  then — bah  ! 

SOLNESS. 

Quite  so  !  The  others  came  in.  To  think  of 
my  forgetting  that  too  ! 

HILDA. 

Oh,  you  haven't  really  forgotten  anything  :  you 
are  only  a  little  ashamed  of  it  all.  I  am  sure  one 
doesn't  forget  things  of  that  kind. 


ACT    I.]  THE    MASTER    BUILDER.  245 

SoLNESS. 

No,  one  would  suppose  not. 

HILDA. 

[Lively  again,  looks  at  him  ]  Perhaps  you  have 
even  forgotten  what  day  it  was  ? 

SOLNESS. 

What  day ? 

HILDA. 

Yes,  on  what  day  did  you  hang  the  wreath  on 
the  tower  ?  Well  ?  Tell  me  at  once  ! 

SOLNESS. 

H'm — I  confess  I  have  forgotten  the  particular 
day.  I  only  know  it  was  ten  years  ago.  Some 
time  in  the  autumn. 

HILDA. 

[Nods  her  head  slowly  several  times.']  It  was  ten 
years  ago — on  the  19th  of  September. 

SOLNESS. 

Yes,  it  must  have  been  about  that  time.  Fancy 
your  remembering  that  too  !  [Stops.]  But  wait  a 

moment !     Yes — it's  the  19th  of  September 

to-day. 

HILDA. 

Yes,  it  is ;  and  the  ten  years  are  gone.  And 
you  didn't  come — as  you  had  promised  me. 

SOLNESS. 
Promised   you  ?      Threatened,    I   suppose   you 


246  THE    MASTER    BUILDER.  [ACT    \ 


HILDA. 

I  don't  think  there  was  any  sort  of  threat  in 
that. 

SoLNESS. 

Well  then,  a  little  bit  of  fun. 

HILDA. 

Was  that  all  you  wanted  ?  To  make  fun  ot 
me  ? 

SOLNESS. 

Well,  or  to  have  a  little  joke  with  you  .  Upon 
my  soul,  I  don't  recollect.  But  it  must  have  been 
something  of  that  kind  ;  for  you  were  a  mere  child 
then. 

HILDA. 

Oh,  perhaps  I  wasn't  quite  such  a  child  either. 
Not  such  a  mere  chit  as  you  imagine. 

SOLNESS. 

[Looks  searchingly  at  her.]  Did  you  really  and 
seriously  expect  me  to  come  again  ? 

HILDA. 

[Conceals  a  half-teasing  smile.]  Yes,  indeed  !  I 
did  expect  that  of  you. 

SOLNESS. 

That  I  should  come  back  to  your  home,  and 
take  you  away  with  me  ? 

HILDA. 
Just  like  a  troll — yes. 

SOLNESS. 
Ajd  make  a  princess  of  you  ? 


ACT  I.]  THE   MASTER   BUILDER.  247 

HILDA, 
That's  what  you  promised. 

SOLNESS. 
And  give  you  a  kingdom  as  well  ? 

HILDA. 

[Looks  up  at  (he  ceiling.]  Why  not  ?  Of  course 
it  need  not  have  been  an  actual,  every-day  sort  of 
a  kingdom. 

SOLNESS. 

But  something  else  just  as  good  ? 

HILDA. 

Yes,  at  least  as  good.  [I,ooks  at  him  a  moment.] 
I  thought,  if  you  could  build  the  highest  church- 
towers  in  the  world,  you  could  surely  manage  to 
raise  a  kingdom  of  one  sort  or  another  as  well. 

SOLNESS. 

[Shakes  his  head.]  I  can't  quite  make  you  out, 
Miss  Wangel. 

HILDA. 
Can  you  not  ?     To  me  it  seems  all  so  simple. 

SOLNESS. 

No,  I  can't  make  up  my  mind  whether  you 
mean  all  you  say,  or  are  simply  having  a  joke  with 
me. 

HILDA. 

[Smiles.]    Making  fun  of  you,  perhaps  ?    I,  too  ? 

SOLNESS. 

Yes,  exactly.  Making  fun — of  both  of  us.  [Looks 
at  her.]  Is  it  long  since  you  found  out  that  I  was 
married  r 


248  THE  MASTER   BUILDER.  [ACT  i. 

HILDA. 

I  have  known  it  all  along.  Why  do  you  ask 
me  that  ? 

SOLNESS. 

[Lightly]  Oh,  well,  it  just  occurred  to  me. 
[Looks  earnestly  at  her,  and  says  in  a  low  voice.] 
What  have  you  come  for  ? 

HILDA. 
I  want  my  kingdom.     The  time  is  up. 

SOLNESS. 
[Laughs  involuntarily.]     What  a  girl  you  are  ! 

HILDA. 

[Gaily]  Out  with  my  kingdom,  Mr.  Solness ! 
[Raps  with  her  fingers]  The  kingdom  on  the 
table ! 

SOLNESS. 

[Pushing  the  rocking-chair  nearer  and  sitting 
dotvn]  Now,  seriously  speaking — what  have  you 
come  for  ?  What  do  you  really  want  to  do 
here  ? 

HILDA. 

Oh,  first  of  all,  I  want  to  go  round  and  look  at 
all  the  things  that  you  have  built. 

SOLNESS. 
That  will  give  you  plenty  of  exercise. 

HILDA. 
Yes,  I  know  you  have  built  a  tremendous  lot. 

SOLNESS. 
I  have  indeed — especially  of  late  years. 


ACT  I.]  THE   MASTER   BUILDER.  249 

HILDA 

Many  church-towers  among  the  rest  ?  Im- 
mensely high  ones  ? 

SOLNESS. 

No.  I  build  no  more  church-towers  now.  Nor 
churches  either. 

HILDA. 
What  d  o  you  build  then  ? 

SOLNESS. 
Homes  for  human  beings. 

HILDA. 

[Reflectively.]  Couldn't  you  build  a  little — a 
little  bit  of  a  church  tower  over  these  homes  as 
well  ? 

SOLNESS. 
[Starting.]     What  do  you  mean  by  that ? 

HILDA. 

I  mean — something  that  points — points  up  into 
the  free  air.  With  the  vane  at  a  dizzy  height. 

SOLNESS. 

[Pondering  a  little.]  Strange  that  you  should  say 
that — for  that  is  just  what  I  am  most  anxious  to 
do. 

HILDA. 
[Impatiently.]     Why  don't  you  do  it,  then  ? 

SOLNESS. 

[Shakes  his  head.]  No,  the  people  will  not  have 
it. 

HILDA 
Fancy  their  not  wanting  it ' 


250  THE    MASTER     BUILDER.  [ACT    I. 

SoLNESS. 

[More  lightly.]  But  now  I  am  building  a  new 
home  for  myself — just  opposite  here. 

HILDA. 
For  yourself  ? 

SOLNESS. 

Yes.  It  is  almost  finished.  And  on  that  there 
is  a  tower. 

HILDA. 
A  high  tower  ? 

SOLNESS. 
Yes. 

HILDA. 
Very  high  ? 

SOLNESS. 

No  doubt  people  will  say  it  is  too  high — too 
high  for  a  dwelling-house. 

HILDA. 

I'll  go  out  and  look  at  that  tower  the  first  thing 
to-morrow  morning. 

SOLNESS. 

[Sits  resting  his  cheek  on  his  hand,  and  gazes  at 
her.]  Tell  me,  Miss  Wangel — what  is  your 
name  ?  Your  Christian  name,  I  mean  ? 

HILDA. 
Why,  Hilda,  of  course. 

SOLNESS. 
[As  before.]     Hilda  ?     Indeed  ? 

HILDA. 

Don't  you  remember  that?  You  called  me 
Hilda  yourself — that  day  when  you  misbehaved. 


ACT    l.j  THE     MASTER     BUILDER.  251 

SoLNESS. 

Did  I  really  ? 

HILDA. 

But  then  you  said  "little  Hilda";  and  I 
didn't  like  that. 

SOLNESS. 
Oh,  you  didn't  like  that,  Miss  Hilda? 

HILDA. 

No,  not  at  such  a  time  as  that.  But — "  Princess 
Hilda  " — that  will  sound  very  well,  I  think. 

SOLNESS. 

Very  well  indeed.  Princess  Hilda  of — of — 
what  was  to  be  the  name  of  the  kingdom  ? 

HILDA. 

Pooh  !  I  won't  have  anything  to  do  with  that 
stupid  kingdom.  I  have  set  my  heart  upon  quite 
a  different  one  ! 

SOLNESS. 

[Has  leaned  back  in  the  chair,  still  gazing  at  herJ\ 

Isn't    it    strange ?     The    more     I    think  of 

it  now,  the  more  it  seems  to  me  as  though  I  had 
gone  about  all  these  years  torturing  myself  with — 

h'm 

HILDA. 

With  what  ? 

SOLNESS. 

With  the  effort  to  recover  something — some 
experience,  which  I  seemed  to  have  forgotten. 
But  I  never  had  the  least  inkling  of  what  it  could 
be. 


252  THE  MASTER   GUILDER.          [ACT  I. 

HILDA. 

You  should  have  tied  a  knot  in  your  pocket- 
handkerchief,  Mr.  Solness. 

SOLNESS. 

In  that  case,  I  should  simply  have  had  to  go 
racking  my  brains  to  discover  what  the  knot 
could  mean. 

HILDA. 

Oh  yes,  I  suppose  there  are  trolls  of  that  kind 
in  the  world,  too. 

SOLNESS. 

[Rises  slowly.]  What  a  good  thing  it  is  that  you 
have  come  to  me  now. 

HILDA. 

[Looks  deeply  into  his  eyes.]  Is  it  a  good 
thing  ! 

SOLNESS. 

For  I  have  been  so  lonely  here.  I  have  been 
gazing  so  helplessly  at  it  all.  [/«  a  loiver  voice.] 
I  must  tell  you — I  have  begun  to  be  so  afraid — 
so  terribly  afraid  of  the  younger  generation. 

HILDA. 

[With  a  little  snort  of  contempt.]  Pooh — is  the 
younger  generation  a  thing  to  be  afraid  of? 

SOLNESS. 

It  is  indeed.  And  that  is  why  I  have  locked 
and  barred  myself  in.  [Mysteriously  ]  I  tell  you 
the  younger  generation  will  one  day  come  and 
thunder  at  my  door !  They  will  break  in  upon 
me  ' 


ACT  I.]  THE   MASTER   BUILDER.  253 

HILDA. 

Then  I  should  say  you  ought  to  go  out  and  open 
the  door  to  the  younger  generation. 

SOLNESS. 
Open  the  door? 

HILDA. 

Yes.  Let  them  come  in  to  you  on  friendly 
terms,  as  it  were. 

SOLNESS. 

No,  no,  no  !  The  younger  generation — it  means 
retribution,  you  see.  It  comes,  as  if  under  a  new 
banner,  heralding  the  turn  of  fortune. 

HILDA. 

[Rises,  looks  at  him,  and  says  with  a  quivering 
twitch  of  her  lips.]  Can  /  be  of  any  use  to  you, 
Mr.  Solness  ? 

SOLNESS. 

Yes,  you  can  indeed  !  For  you,  too,  come — 
under  a  new  banner,  it  seems  to  me.  Youth 
marshalled  against  youth ! 

DR.  H  ERDAL  comes  in  by  the  hall-door. 

DR.   HERDAL. 
What — you  and  Miss  Wangel  here  still  ? 

SOLNESS. 

Yes.  We  have  had  no  end  of  things  to  talk 
about. 

HILDA. 
Both  old  and  new. 

DR.  HERDAL. 
Have  you  really  ? 


254  THE   MASTER   BUILDER.  [ACT  I, 

HILDA. 

Oh,  it  has  been  the  greatest  fun.  For  Mr. 
Solness — he  has  such  a  miraculous  memory.  All 
the  least  little  details  he  remembers  instantly. 

MRS.  SOLNESS  enters  by  the  door  on  the  right. 

MRS.  SOLNESS. 

Well,  Miss  Wangel,  your  room  is  quite  ready  for 
you  now. 

HILDA. 
Oh,  how  kind  you  are  to  me ! 

SOLNESS. 
[To  MRS.  SOLNESS.]     The  nursery? 

MRS.  SOLNESS. 

Yes,  the  middle  one.  But  first  let  us  go  in  to 
supper. 

SOLNESS. 

[Nods  to  HILDA.]  Hilda  shall  sleep  in  the 
nursery,  she  shall. 

MRS.  SOLNESS. 
[Looks  at  himJ\     Hilda  ? 

SOLNESS. 

Yes,  Miss  Wangel's  name  is  Hilda.  I  knew  her 
when  she  was  a  child. 

MRS.  SOLNESS. 

Did  you  really,  Halvard  ?  Well,  shall  we  go  ? 
Supper  is  on  the  table. 

[She  takes  DR.  HERDAL'S  arm  and  goes  out 
with  him  to  the  right.  HILDA  has 
meanwhile  been  collecting  her  travelling 
things. 


ACT  I.]  THE   MASTER    BUILDER.  255 

HILDA. 

[Softly    and   rapidly   to   SOLNESS.]     Is    it    true, 
what  you  said  ?     Can  I  be  of  use  to  you  ? 

SOLNESS. 

[Takes  the  things  from  her.]     You  are  the  very 
being  I  have  needed  most. 

H  ILDA. 

[Looks  at  him  with  happy,  wondering   eyes     and 
clasps,  her  hands.]     But  then,  great  heavens ! 

SOLNESS. 
[Eagerly.]     What ? 

HILDA. 
Then  I  have  my  kingdom ! 

SOLNESS. 
[Involuntarily '.]     Hilda J 

HILDA. 

[Again  with  the  quivering  twitch  of  her  lips.] 
Almost — I  was  going  to  say. 

[She    goes   out    to    the    right,    SOLNESS 
follows  her. 


ACT  SECOND. 

A  prettily  furnished  small  drawing-room  in  SOLNESS'S 
house.  In  the  back,  a  glass-door  leading  out 
to  the  verandah  and  garden.  The  right-hand 
corner  is  cut  off  transversely  by  a  large  bay-win- 
dow, in  which  are  Jlower-stands.  The  left-hand 
corner  is  similarly  cut  off  by  a  transverse  wall,  in 
which  is  a  small  door  papered  like  the  wall.  On 
each  side,  an  ordinary  door.  In  front,  on  the 
right,  a  console  table  with  a  large  mirror  over  it. 
Well-filled  stands  of  plants  and  flowers.  In 
front,  on  the  left,  a  sofa  with  a  table  and  chairs. 
Further  back,  a  bookcase.  Well  forward  in  the 
room,  before  the  bay  window,  a  small  table  and 
some  chairs.  It  is  early  in  the  day. 

SOLNESS  sits  by  the  little  table  with  RAGNAR  BROVIK'S 
portfolio  open  in  front  of  him.  He  is  turning 
the  drawings  over  and  closely  examining  some  of 
them.  MRS.  SOLNESS  moves  about  noiselessly 
with  a  small  watering-pot,  attending  to  her 
Jlowers.  She  is  dressed  in  black  as  before.  Her 
hat,  cloak  and  parasol  lie  on  a  chair  near  the 
mirror.  Unobserved  by  her,  SOLNESS  now  and 
again  follows  her  with  his  eyes.  Neither  of  them 
speaks. 

KAIA  FOSLI  enters  quietly  by  the  door  on  the  left. 

SOLNESS. 
[Turns  his  head,  and  says  in  an  off  hand  tone  of 

indifference  ]     Well,  is  that  you  ? 


ACT  II.]        THE  MASTER  BUILDER.  257 

KAIA. 

I  merely  wished  to  let  you  know  that  I  have 
come. 

SOLNESS. 

Yes,  yes,  that's  all  right.  Hasn't  Ragnar  come 
too? 

KAIA. 

No,  not  yet.  He  had  to  wait  a  little  while  to 
see  the  doctor.  But  he  is  coming  presently  to 
hear — 

SOLNESS. 
How  is  the  old  man  to-day  ? 

KAIA. 

Not  well.  He  begs  you  to  excuse  him  ;  he  is 
obliged  to  keep  his  bed  to-day. 

SOLNESS. 

Why,  of  course  ;  by  all  means  let  him  rest.  But 
now,  get  to  your  work. 

KAIA. 

Yes.  [Pauses  at  the  door.]  Do  you  wish  to 
speak  to  Ragnar  when  he  comes  ? 

SOLNESS. 

No — I  don't  know  that  I  have  anything  par- 
ticular to  say  to  him. 

[KAIA  goes  out  again  to  the  left.     SOLNESS 
remains  seated,  turning  over  the  drawings. 

MRS.  SOLNESS. 

[Over  beside  the,  plants .]  I  wonder  if  he  isn't 
going  to  die  now,  as  well  ? 

X  R 


258  THE    MASTER    BUILDER.  [ACT    II. 

SoLNESS. 

[Looks  up  at  her.]     As  well  as  who  ? 

MRS.  SOLNESS. 

[Without  answering.]  Yes,  yes — depend  upon  it, 
Halvard,  old  Brovik  is  going  to  die  too.  You'll 
see  that  he  will. 

SOLNESS. 

My  dear  Aline,  ought  you  not  to  go  out  for  a 
little  walk  ? 

MRS.  SOLNESS. 
Yes,  I  suppose  I  ought  to. 

[She  continues  to  attend  to  the  flowers. 

SOLNESS. 
[Bending  over  the  drawings.]     Is  she  still  asleep  ? 

MRS.  SOLNESS. 

[Looking  at  him.]  Is  it  Miss  Wangel  you  are 
sitting  there  thinking  about  ? 

SOLNESS. 
[Indifferently.]    I  just  happened  to  recollect  her. 

MRS.  SOLNESS. 
Miss  Wangel  was  up  long  ago. 

SOLNESS. 
Oh,  was  she  ? 

MRS.  SOLNESS. 

When  I  went  in  to  see  her,  she  was  busy  putting 
her  things  in  order. 

[She  goes  in  front  of  the  mirror  and  slowly 
begins  to  put  on  her  hat. 


ACT    II.]  THE    MASTER    BUILDER.  259 

SoLNESS. 

[After  a  short  pause.]  So  we  have  found  a  use 
for  one  of  our  nurseries  after  all,  Aline. 

MRS.  SOLNESS. 
Yes,  we  have. 

SOLNESS. 

That  seems  to  me  better  than  to  have  them  all 
standing  empty. 

MRS.  SOLNESS. 
That  emptiness  is  dreadful ;  you  are  right  there. 

SOLNESS. 

[Closes  the  portfolio,  rises  and  approaches  her.] 
You  will  find  that  we  shall  get  on  far  better  after 
this,  Aline.  Things  will  be  more  comfortable.  Life 
will  be  easier — especially  for  you. 

MRS.  SOLNESS. 
[Looks  at  him.]     After  this  ? 

SOLNESS. 
Yes,  believe  me,  Aline — 

MRS.  SOLNESS. 
Do  you  mean — because  she  has  come  here  ? 

SOLNESS. 

[Checking  himself.]  I  mean,  of  course — when 
once  we  have  moved  into  the  new  house. 

MRS.  SOLNESS. 

[Tafcex  her  sloak.]  Ah,  do  you  think  so,  Hal- 
vard  ?  Will  it  be  better  then  ? 


260  THE    MASTER    BUILDER.  [ACT    II. 

SoLNESS. 

I  can't  think  otherwise.  And  surely  you  think 
so  too  ? 

MRS.  SOLNESS. 

I  think  nothing  at  all  about  the  new  house. 

SOLNESS. 

[Cast  down.]  It's  hard  for  me  to  hear  you  say 
that ;  for  you  know  it  is  mainly  for  your  sake 
that  I  have  built  it. 

[He  offers  to  help  her  on  with  her  cloak. 

MRS.  SOLNESS. 

[Evades  him.]  The  fact  is,  you  do  far  too  much 
for  my  sake. 

SOLNESS. 

[With  a  certain  vehemence.]  No,  no,  you  really 
mustn't  say  that,  Aline  !  I  cannot  bear  to  hear 
you  say  such  things  ! 

MRS.  SOLNESS. 
Very  well,  then  I  won't  say  it,  Halvard. 

SOLNESS. 

But  I  stick  to  what  1  said.  You'll  see  that 
things  will  be  easier  for  you  in  the  new  place. 

MRS.  SOLNESS. 
Oh  heavens — easier  for  me ' 


SOLNESS. 

[Eagerly. ,]  Yes,  indeed  they  will !  You  may  be 
quite  sure  of  that !  For  you  see — there  will  be  so 
very,  very  much  there  that  will  remind  you  of 
your  own  home 


ACT  II.]         THE  MASTER  BUILDER.  26l 

MRS.  SOLNESS. 

The  home  that  used  to  be  father's  and  mother's 
— and  that  was  burnt  to  the  ground — 

SOLNESS. 

[In  a  low  voice.]  Yes,  yes,  my  poor  Aline. 
That  was  a  terrible  blow  for  you. 

MRS.  SOLNESS. 

[Breaking  out  in  lamentation.]  You  may  build  as 
much  as  ever  you  like,  Halvard — you  can  never 
build  up  again  a  real  home  for  me  ! 

SOLNESS. 

[Crosses  the  room.]  Well,  in  Heaven's  name,  let 
us  talk  no  more  about  it  then. 

MRS.  SOLNESS. 

We  are  not  in  the  habit  of  talking  about  it. 
For  you  always  put  the  thought  away  from 
you — 

SOLNESS. 

[Stops  suddenly  and  looks  at  her.]  Do  I  ?  And  why 
should  I  do  that?  Put  the  thought  away  from 
me  ? 

MRS.  SOLNESS. 

Oh  yes,  Halvard,  I  understand  you  very  well. 
You  are  so  anxious  to  spare  me — and  to  find  ex- 
cuses for  me  too — as  much  as  ever  you  can. 

SOLNESS. 

[With  astonishment  in  his  eyes]  You!  Isityou 
— yourself,  that  you  are  talking  about,  Aline  ?  • 


262  THE   MASTER   BUILDER.          [ACT  II. 

MRS.  SOLNESS. 
Yes,  who  else  should  it  be  but  myself? 

SOLNESS. 
[Involuntarily  to  himself.]     That  too  ! 

MRS.  SOLNESS. 

As  for  the  old  house,  I  wouldn't  mind  so  much 
about  that.  When  once  misfortune  was  in  the  air 

—  why 

SOLNESS. 

Ah,  you  are  right  there.  Misfortune  will  have 
its  way — as  the  saying  goes. 

MRS.  SOLNESS. 
But  it's  what   came  of  the  fire — the   dreadful 

thing  that    followed !     That   is    the  thing! 

That,  that,  that ! 

SOLNESS. 
[Vehemently.]     Don't  think  about  that,  Aline! 

MRS.  SOLNESS. 

Ah,  that  is  exactly  what  I  cannot  help  thinking 
about.  And  now,  at  last,  I  must  speak  about  it, 
too ;  for  I  don't  seem  able  to  bear  it  any  longer. 
And  then  never  to  be  able  to  forgive  my- 
self  

SOLNESS. 

[Exclaiming.]     Yourself ! 

MRS.  SOLNESS. 

Yes,  f  jr  I  had  duties  on  both  sides — both  to- 
wards you  and  towards  the  little  ones.  J  ought 
to  have  hardened  myself— not  to  have  let  the 


ACT    II.]  THE    MASTER    BUILDER.  263 


horror  take  such  hold  upon  me  —  nor  the  grief  for 
the  burning  of  my  home.  [Wrings  her  hands] 
Oh,  Halvard,  if  I  had  only  had  the  strength  ! 

SOLNESS. 

[Softly,  much  moved,  comes  closer.]  Aline — you 
must  promise  me  never  to  think  these  thoughts 
any  more. —  Promise  me  that,  dear! 

MRS.  SOLNESS. 

Oh,  promise,  promise  !  One  can  promise  any- 
thing. 

SOLNESS. 

[Clenches  his  hands  and  crosses  the  room]  Oh, 
but  this  is  hopeless,  hopeless  !  Never  a  ray  of 
sunlight !  Not  so  much  as  a  gleam  of  brightness 
to  light  up  our  home! 

MRS.  SOLNESS. 
This  is  no  home,  Halvard. 

SOLNESS. 

Oh  no,  you  may  well  say  that.  [Gloomily] 
And  God  knows  whether  you  are  not  right  in 
saying  that  it  will  be  no  better  for  us  in  the  new 
house,  either. 

MRS.  SOLNESS. 

It  will  never  be  any  better.  Just  as  empty — 
just  as  desolate — there  as  here. 

SOLNESS. 

[Vehemently]  Why  in  all  the  world  have  we 
built  it  then  ?  Can  you  tell  me  that  ? 


THE   MASTER   BUILDER.         [ACT  II. 

MRS.  SOLNESS. 

No ;  you  must  answer  that  question  for  your- 
self. 

SOLNESS. 

[Glances  suspiciously  at  her.]  What  do  you  mean 
by  that,  Aline  ? 

MRS.  SOLNESS. 
What  do  I  mean  ? 

SOLNESS. 

Yes,  in  the  devil's  name !  You  said  it  so 
strangely — as  if  you  had  some  hidden  meaning  in 
it. 

MRS.  SOLNESS. 

No,  indeed,  I  assure  you 

SOLNESS. 

[Comes  closer]  Oh,  come  now — I  know  what  I 
know.  I  have  both  my  eyes  and  my  ears  about 
me,  Aline — you  may  depend  upon  that ! 

MRS.  SOLNESS. 
Why,  what  are  you  talking  about  ?     What  is  it  ? 

SOLNESS. 

[Places  himself  in  front  of  her]  Do  you  mean 
to  say  you  don't  find  a  kind  of  lurking,  hidden 
meaning  in  the  most  innocent  word  I  happen  to 
say  ? 

MRS.  SOLNESS. 
/,  do  you  say  ?     /  do  that  ? 

SOLNESS. 

[Laughs.]  Ho-ho-ho !  It's  natural  enough, 
Aline  !  When  you  have  a  sick  man  on  your 
hands 


ACT  II.]         THE   MASTER   BUILDER.  265 

MRS.  SOLNESS. 
[Anxiously.]     Sick?     Are  you  ill,  Halvard  ? 

SOLNESS. 

[Violently.]     A   half-mad  man   then  !     A  crazy 
man  !     Call  me  what  you  will. 

MRS.  SOLNESS. 

[Feels  blindly  for  a  chair  and  sits  down.]      Hal 
vard — for  God's  sake — 

SOLNESS. 

But  you  are  wrong,  both   you   and  the  doctor. 
I  am  not  in  the  state  you  imagine. 

[He  walks  up  and  down  the  room.  MRS. 
SOLNESS  follows  him  anxiously  with  her 
eyes.  Finally  he  goes  up  to  her. 

SOLNESS. 

[Calmly.]     In  reality  there  is  nothing  whatever 
the  matter  with  me. 

MRS.  SOLNESS 

No,  there  isn't,  is  there  ?     But  then  what  is  it 
that  troubles  you  so  ? 

SOLNESS. 

Why  this,  that  I  often  feel  ready  to  sink  under 
this  terrible  burden  of  debt — 

MRS.  SOLNESS. 

Debt,  do  you  say  ?     But  you  owe  no  one  any- 
thing, Halvard  ! 

SOLNESS. 

[Softly,  with  emotion.]     I  owe  a  boundless  debt 
to  you — to  you — to  you,  Aline. 


266  THE   MASTER   BUILDER.          [ACT  II. 

MRS.   SOLNESS. 

[Rises  slowly.]  What  is  behind  all  this  ?  You 
may  just  as  well  tell  me  at  once. 

SOLNESS. 

But  there  is  nothing  behind  it!  I  have  never 
done  you  any  wrong — not  wittingly  and  wilfully, 
at  any  rate.  And  yet — and  yet  it  seems  as  though 
a  crushing  debt  rested  upon  me  and  weighed  me 
down. 

MRS.  SOLNESS. 
A  debt  to  me  ? 

SOLNESS. 
Chiefly  to  you. 

MRS.  SOLNESS. 
Then  you  are — ill  after  all,  Halvard. 

SOLNESS. 

[Gloomily.]  I  suppose  I  must  be— or  not  far 
from  it.  [Looks  towards  the  door  to  the  right,  which 
is  opened  at  this  moment.]  Ah  !  now  it  grows 
lighter. 

HILDA    WANGEL    comes    in.     She   has    made    some 
alteration  in  her  dress,  and  let  down  her  skirt. 

HILDA. 
Good  morning,  Mr.  Solness ! 

SOLNESS. 
[Nods.]     Slept  well  ? 

HILDA. 

Quite  deliciously  !  Like  a  child  in  a  cradle.  Oh 
— I  lay  and  stretched  myself  like — like  a  princess  ! 


ACT    II.]  THE    MASTER    BUILDER.  267 

SOLNESS. 

[Smiles  a  little.]  You  were  thoroughly  comfort- 
able then  ? 

HILDA. 
I  should  think  so. 

SOLNESS. 
And  no  doubt  you  dreamed,  too. 

HILDA. 
Yes,  I  did.     But  that  was  horrid. 

SOLNESS. 
Was  it  ? 

HILDA. 

Yes,  for  I  dreamed  I  was  falling  over  a  fright- 
fully high,  sheer  precipice.  Do  you  never  have 
that  kind  of  dream  ? 

SOLNESS. 
Oh  yes — now  and  then 

HILDA. 

It's  tremendously  thrilling — when  you  fall  and 
fall— 

SOLNESS. 
It  seems  to  make  one's  blood  run  cold. 

HILDA. 

Do  you  draw  your  legs  up  under  you  while  you 
are  falling  ? 

SOLNESS. 
Yes,  as  high  as  ever  I  can. 

HILDA. 
So  do  I. 


268  THE   MASTER   BUILDER.          [ACT  II. 

MRS.  SOLNESS. 

[Takes  her  parasol.]  I  must  go  into  town  now, 
Halvard.  [To  HILDA,]  And  I'll  try  to  get  one  or 
two  things  that  you  may  require. 

HILDA. 

[Making  a  motion  to  throw  her  arms  round  her 
neck.}  Oh,  you  dear,  sweet  Mrs.  Solness  !  You 
are  really  much  too  kind  to  me !  Frightfully 
kind 

MRS.  SOLNESS. 

[Deprecatingly,  freeing  herself  ]  Oh,  not  at  all. 
It's  only  my  duty,  so  I  am  very  glad  to  do  it. 

HILDA. 

[Offended,  pouts.]  But  really,  I  think  I  am 
quite  fit  to  be  seen  in  the  streets — now  that  I've 
put  my  dress  to  rights.  Or  do  you  think  I  am 
not? 

MRS.  SOLNESS. 

To  tell  you  the  truth,  I  think  people  would 
stare  at  you  a  little. 

HILDA. 

[Contemptuously.]  Pooh  !  Is  that  all  ?  That 
only  amuses  me. 

SOLNESS. 

[JVith  suppressed  ill-humour.]  Yes,  but  people 
might  take  it  into  their  heads  that  you  were 
mad  too,  you  see. 

HILDA. 

Mad  ?  Are  there  so  many  mad  people  here  in 
town,  then  ? 


ACT    II.]  THE    MASTER     BUILDER.  2(>9 

SOLNESS. 

[Points  to  his  own  forehead]     Here  you  see  one 
at  all  events. 

HILDA. 
You — Mr.  Solness  ! 

MRS.  SOLNESS. 
Oh,  don't  talk  like  that,  my  dear  Halvard  ! 

SOLNESS. 
Have  you  not  noticed  that  yet  ? 

HILDA. 

No,  I  certainly  have  not.     [Reflects  and  laughs  a 
little.]     And  yet — perhaps  in  one  single  thing. 

SOLNESS. 
Ah,  do  you  hear  that,  Aline  ? 

MRS  SOLNESS. 
What  is  that  one  single  thing,  Miss  Wangel .' 

HILDA. 
No,  I  won't  say. 

SOLNESS. 
Oh  yes,  do  ! 

HILDA. 
No  thank  you — 1  am  not  so  mad  as  that. 

MRS.  SOLNESS. 

When  you  and  Miss  Wangel  are  alone,  I  daresay 
she  will  tell  you,  Halvard. 

SOLNESS. 
Ah — you  think  she  will  ? 


270  THE   MASTER   BUILDER.          [ACT  II. 

MRS.  SOLNESS. 

Oh  yes,  certainly.  For  you  have  known  her  so 
well  in  the  past.  Ever  since  she  was  a  child — 
you  tell  me.  [She  goes  out  by  the  door  on  the  left. 

HILDA. 

[After  a  little  rvhileJ]  Does  your  wife  dislike  me 
very  much  ? 

SOLNESS. 

Ditl  you  think  you  noticed  anything  of  the 
kind  ? 

HILDA. 
Did  you  not  notice  it  yourself  ? 

SOLNESS. 

[Evasively.]  Aline  has  become  exceedingly  shy 
with  strangers  of  late  years. 

HILDA. 
Has  she  really  ? 

SOLNESS. 
But    if   only    you    could    get    to    know    her 

thoroughly !    Ah,  she  is  so  good — so  kind — so 

.excellent  a  creature — 

HILDA. 

[Impatiently.]     But  if  she  is  all  that — what  made    ' 
her  say  that  about  her  duty  ? 

SOLNESS. 
Her  duty  ? 

HILDA. 

She  said  that  she  would  go  out  and  buy  some- 
thing for  me,  because  it  was  her  duty.  Oh  I 
can't  bear  that  ugly,  horrid  word  ! 


ACT    II.]  THE    MASTER    BUILDER.  271 

SOLNESS. 

Why  not  ? 

HILDA. 

It  sounds  so  cold,  and  sharp,  and  stinging. 
Duty — duty — duty.  Don't  you  think  so,  too  ? 
Doesn't  it  seem  to  sting  you  ? 

SOLNESS. 
H'm — haven't  thought  much  about  it. 

HILDA. 

Yes,  it  does.  And  if  she  is  so  good — as  you  say 
she  is — why  should  she  talk  in  that  way  ? 

SOLNESS. 

But,  good  Lord,  what  would  you  have  had  her 
say,  then  ? 

HILDA. 

She  might  have  said  she  would  do  it  because 
she  had  taken  a  tremendous  fancy  to  me.  She 
might  have  said  something  like  that — something 
really  warm  and  cordial,  you  understand. 

SOLNESS. 

[Looks  at  her.}  Is  that  how  you  would  like  to 
have  it  ? 

HILDA. 

Yes,  precisely.  [She  wanders  about  the  room, 
stops  at  the  bookcase  and  looks  at  the  books.]  What 
a  lot  of  books  you  have. 

SOLNESS. 
Yes,  I  have  got  together  a  good  many. 


272  THE  MASTER  BUILDER.         [ACT  II. 

HILDA. 
Do  you  read  them  all,  too  ? 

SOLNESS. 
I  used  to  try  to.     Do  you  read  much  ? 

HILDA. 

No,   never !     I   have  given  it   up.     For   it  all 
seems  so  irrelevant. 

SOLNESS. 
That  is  just  my  feeling. 

[ HILDA  wanders  about  a  little,  stops  at  the 
small  table,  opens  the  portfolio  and  turns 
over  the  contents. 

HILDA. 
Are  all  these  drawings  yours  ? 

SOLNESS. 

No,  they  are  drawn  by  a  young  man  whom  I 
employ  to  help  me. 

HILDA. 
Some  one  you  have  taught  ? 

SOLNESS. 

Oh  yes,  no  doubt  he  has  learnt  something  from 
me,  too. 

HILDA. 

[Sits  down.]     Then  I  suppose  he  is  very  clever. 
[Looks  at  a  drawing.'}     Isn't  he  ? 

SOLNESS. 
Oh,  he  might  be  worse.     For  my  purpose • 


ACT  II.]         THE  MASTER  BUILDER.  273 

HILDA. 
Oh  yes — I'm  sure  he  is  frightfully  clever. 

SOLNESS. 
Do  you  think  you  can  see  that  in  the  drawings  ? 

HILDA. 

Pooh — these  scrawlings  '.  But  if  he  has  been 
learning  from  you — 

SOLNESS. 

Oh,  so  far  as  that  goes there  are  plenty  ot 

people  here  that  have  learnt  from  me,  and  have 
come  to  little  enough  for  all  that. 

HILDA. 

[Looks  at  him  and  shakes  her  head.']  No,  I  can't 
for  the  life  of  me  understand  how  you  can  be  so 
stupid. 

SOLNESS. 
Stupid  ?     Do  you  think  I  am  so  very  stupid  ? 

HILDA. 

Yes,  I  do  indeed  If  you  are  content  to  go 
about  here  teaching  all  these  people — 

SOLNESS. 
[With  a  slight  start.]    Well,  and  why  not  ? 

HILDA. 

[Rises,  half  serious,  half  laughing.]  No  indeed, 
Mr.  Solness  !  What  can  be  the  good  of  that  ?  No 
one  but  you  should  be  allowed  to  build.  You 
should  stand  quite  alone — do  it  all  yourself.  Now 
you  know  it. 

x  s 


274  THE    MASTER    BUILDER.  [ACT    II. 

SoLNESS. 

[Involuntarily.]     Hilda ' 

HILDA. 
Well! 

SOLNESS. 

How  in  the   world  did  that  come   into   your 
head  ? 

HILDA. 
Do  you  think  I  am  so  very  far  wrong  then  ? 

SOLNESS. 

No,  that's  not  what  I  mean.     But  now  I'll  tell 
you  something. 

HILDA. 
Well  ? 

SOLNESS. 

I  keep  on — incessantly — in  silence  and  alone — 
brooding  on  that  very  thought. 

HILDA. 
Yes,  that  seems  to  me  perfectly  natural. 

SOLNESS. 

[Looks   somewhat   searchingly    at  her.]      Perhaps 
you  have  noticed  it  already  ? 

HILDA. 
No,  indeed  I  haven't. 

SOLNESS. 

But  just  now — when  you  said  you  thought  I  was 
— off  my  balance  ?     In  one  thing,  you  said — 


.j  THE    MASTER    BUILDER.  275 


HILDA. 

Oh,  I  was  thinking  of  something  quite  dif- 
ferent. 

SOLNESS. 
What  was  it 

HILDA. 
I  am  not  going  to  tell  you. 

SOLNESS. 

[Crosses  the  room.]  Well,  well — as  you  please 
[Stops  at  the  bow-window  ]  Come  here,  and  I  wiH 
show  you  something. 

HILDA. 
[Approaching.]     What  is  it  ? 

SOLNESS. 
Do  you  see — over  there  in  the  garden ? 

HILDA. 
Yes? 

SOLNESS. 

[Points.]     Right  above  the  great  quarry ? 

HILDA. 
That  new  house,  you  mean  r 

SOLNESS. 

The  one  that  is  being  built,  yes.  Almost 
finished. 

HILDA. 
It  seems  to  have  a  very  high  tower. 

SOLNESS. 
The  scaffolding  is  still  up. 


276  THE   MASTER   BUILDER.         [ACT  II. 

HILDA, 
Is  that  your  new  house  ? 

SoLNESS. 

Yes. 

HILDA. 
The  house  you  are  soon  going  to  move  into  ? 

SOLNESS. 
Yes. 

HILDA. 

[Looks  at  him.]     Are  there   nurseries  in  that 
house,  too  ? 

SOLNESS. 
Three,  as  there  are  here. 

HILDA. 
And  no  child. 

SOLNESS. 

And  there  never  will  be  one. 

HILDA. 
[With    a    half  smile.  \      Well,   isn't  it  just  as  I 

said ? 

SOLNESS. 

That ? 

HILDA. 
That  you  are  a  little — a  little  mad  after  all. 

SOLNESS. 
Was  that  what  you  were  thinking  of? 

HILDA, 
Yes,  of  all  the  empty  nurseries  I  slept  in. 


ACT   II.]  THE    MASTER    BUILDER.  277 


SOLNESS. 

[Lowers  his  voice.]  We  iiave  had  children — 
Aline  and  I. 

HILDA. 
[Looks  eagerly  at  him.]     Have  you i> 

SOLNESS. 
Two  little  boys.     They  were  of  the  same  age. 

HILDA. 
Twins,  then. 

SOLNESS. 

Yes,  twins.  It's  eleven  or  twelve  years  ago 
now. 

HILDA. 

[Cautiously.]     And  so  both  of  them ?     You 

have  lost  both  the  twins,  then  ? 

SOLNESS. 

[With  quiet  emotion.']  We  kept  them  only  about 
three  weeks.  Or  scarcely  so  much.  [Bursts  forth.] 
Oh,  Hilda,  I  can't  tell  you  what  a  good  thing  it 
is  for  me  that  you  have  come  !  For  now  at  last  I 
have  some  one  I  can  talk  to  ' 

HILDA. 
Can  you  not  talk  to — her,  too  ? 

SOLNESS. 

Not  about  this.  Not  as  I  want  to  talk  and  must 
talk.  [Gloomily  ]  And  not  about  so  many  other 
things,  either. 


278  THE   MASTER   BUILDER.          [ACT  II. 

HILDA. 

[/ra  a  subdued  voice.]  Was  that  all  you  meant 
when  you  said  you  needed  me  ? 

SOLNESS. 

That  was  mainly  what  I  meant — at  all  events, 
yesterday.  For  to-day  I  am  not  so  sure — [Break- 
ing o/f.]  Come  here  and  let  us  sit  down, 
Hilda.  Sit  there  on  the  sofa — so  that  you  can 
look  into  the  garden.  [HILDA  seats  herself  in  the 
corner  of  the  sofa.  SOLNESS  brings  a  chair  closer.] 
Should  you  like  to  hear  about  it  ? 

HILDA. 
Yes,  I  shall  love  to  sit  and  listen  to  you. 

SOLNESS. 
[Sits  down.]     Then  I  will  tell  you  all  about  it. 

HILDA. 

Now  I  can  see  both  the  garden  and  you,  Mr. 
Solness.  So  now,  tell  away  !  Begin  ! 

SOLNESS. 

[Points  towards  the  bow-window.'}  Out  there  on 
the  rising  ground — where  you  see  the  new 
house — 

HILDA. 
Yes? 

SOLNESS. 

Aline  and  1  lived  there  in  the  first  years  of  our 
married  life.  There  was  an  old  house  up  there 
that  had  belonged  to  her  mother  ;  and  we  in- 
herited it,  and  the  whole  of  th<;  great  garden  with 
it 


ACT  II.]         THE   MASTER   BUILDER. 

HILDA. 
Was  there  a  tower  on  that  house,  too  ? 

SoLNESS. 

No,  nothing  of  the  kind.  From  the  outside  it 
looked  like  a  great,  dark,  ugly  wooden  box  ;  but 
all  the  same,  it  was  snug  and  comfortable  enough 
inside. 

HILDA. 

Then  did  you  pull  down  the  ramshackle  old 
place  ? 

SOLNESS. 

No,  it  was  burnt  down. 

HILDA. 
The  whole  of  it  ? 

SOLNESS. 
Yes. 

HILDA. 

Was  that  a  great  misfortune  for  you  ? 

SOLNESS. 

That  depends  on  how  you  look  at  it.  As  a 
builder,  the  fire  was  the  making  of  me 

HILDA. 

Well,  but ? 

SOLNESS. 
It  was  just  after  the   birth  of  the  two  little 

boys 

HILDA. 
The  poor  little  twins,  yes. 

SOLNESS. 
They  came  healthy  and   bonny  into  the  world. 


280  THE    MASTER    BUILDER.  [ACT    II. 

And  they  were  growing  too — you  could  see  the 
difference  from  day  to  day. 

HILDA. 
Little  children  do  grow  quickly  at  first. 

SOLNESS. 

It  was  the  prettiest  sight  in  the  world  to  see 
Aline  tying  with  the  two  of  them  in  her  arms. 
— But  then  came  the  night  of  the  fire 

HILDA. 

[Excitedly.']  What  happened  ?  Do  tell  me  ' 
Was  any  one  burnt  ? 

SOLNESS. 

No,  not  that.  Every  one  got  safe  and  sound 
out  of  the  house 

HILDA. 
Well,  and  what  then ? 

SOLNESS. 

The  fright  had  shaken  Aline  terribly.  The 
alarm — the  escape — the  break-neck  hurry — and 
tnen  the  ice-cold  night  air — for  they  had  to  be 
carried  out  just  as  they  lay — both  she  and  the 
little  ones. 

HILDA. 
Was  it  too  much  for  them  ? 

SOLNESS. 

Oh  no,  they  stood  it  well  enough.  But  Aline 
fell  into  a  fever,  and  it  affected  her  milk.  She 
would  insist  on  nursing  them  herself ;  because  it 


ACT    II.]  THE    MASTER    BUILDER.  281 

was  her  duty,  she  said.     And  both  our  little  boys, 
they — [Clenching  his  hands.] — they — oh  ! 

HILDA. 
They  did  not  get  over  that  ? 

SOLNESS. 

No,  that  they  did  not  get  over.  That  was  how 
we  lost  them. 

HILDA. 
It  must  have  been  terribly  hard  for  you. 

SOLNESS. 

Hard  enough  for  me  ;  but  ten  times  harder  for 
Aline.  [Clenching  his  hands  in  suppressed  fury.] 
Oh,  that  such  things  should  be  allowed  to  happen 
here  in  the  world  !  [Shortly  and  /irmly.]  From  the 
day  I  lost  them,  I  had  no  heart  for  building 
churches. 

HILDA. 

Did  you  not  like  building  the  church-tower  in 
our  town  ? 

SOLNESS. 

I  didn't  like  it.  I  know  how  free  and  happy  I 
felt  when  that  tower  was  finished. 

HILDA. 
/  know  that,  too. 

SOLNESS. 

And  now  I  shall  never — never  build  anything 
of  that  sort  again  !  Neither  churches  nor  church- 
towers. 

HILDA. 

[Nods  slowly.]  Nothing  but  houses  for  people 
to  live  in. 


282  THE    MASTER    BUILDER.  [ACT    II. 

SOLNESS. 

Homes  for  human  beings,  Hilda. 

HILDA. 

But  homes  with  high  towers  and  pinnacles  upon 
them. 

SOLNESS. 

If  possible.  [Adopts  a  fighter  tone.]  But,  as  I 
said  before,  that  fire  was  the  making  of  me — as  a 
builder,  I  mean. 

HILDA. 

Why  don't  you  call  yourself  an  architect,  like 
the  others  ? 

SOLNESS. 

I  have  not  been  systematically  enough  taught 
for  that.  Most  of  what  1  know  1  have  found  out 
for  myself. 

HILDA. 
But  you  succeeded  all  the  same. 

SOLNESS. 

Yes,  thanks  to  the  fire.  I  laid  out  almost  the 
whole  of  the  garden  in  villa  lots  ;  and  there  I  was 
able  to  build  after  my  own  heart.  So  I  came  to 
the  front  with  a  rush. 

HILDA. 

[Looks  keenly  at  him.]  You  must  surely  be  a  very 
happy  man,  as  matters  stand  with  you. 

SOLNESS. 

[Gloomily.]  Happy?  Do  you  say  that,  too — 
like  all  the  rest  of  them  ? 


ACT  II.]         THE   MASTER   BUILDER.  283 

HILDA. 

Yes,  I  should  say  you  must  be.    If  you  could  only 
cease  thinking  about  the  two  little  children — 

SOLNESS. 

[Slowly.]     The  two  little  children — they  are  not 
so  easy  to  forget,  Hilda. 

HILDA. 

[Somewhat  uncertainly.]     Do  you  still  feel  their 
loss  so  much — after  all  these  years  ? 

SOLNESS. 

[Looks  fixedly  at  her,  without  replying.]     A  happy 
man  you  said — 

HILDA. 

Well,  now,  are   you  not  happy — in   other   re 
spects  ? 

SOLNESS. 

[Continues  to  look  at  her.]     When  I  told  you  all 
this  about  the  fire — h'm — 

HILDA. 
Well  ? 

SOLNESS. 

Was  there  not  one  special  thought  that  you — 
that  you  seized  upon  ? 

HILDA. 

[Reflects  in  vain.]     No.     What  thought  should 
that  he? 

SOLNESS. 

[With  subdued  emphasis.]  It  was  simply  and  solely 
by  that  fire  that  I  was  enabled  to  build  homes  tor 


284  THE    MASTER     BUILDER.  [ACT    II. 

human  beings.  Cosy,  comfortable,  bright  homes, 
where  father  and  mother  and  the  whole  troop  of 
children  can  live  in  safety  and  gladness,  feeling 
what  a  happy  thing  it  is  to  be  alive  in  the  world — 
and  most  of  all  to  belong  to  each  other — in  great 
things  and  in  small. 

HILDA. 

[Ardently.]  Well,  and  is  it  not  a  great  happiness 
for  you  to  be  able  to  build  such  beautiful  liomes  ? 

SOLNESS. 

The  price,  Hilda !  The  terrible  price  I  had  to 
pay  for  the  opportunity  ! 

HILDA. 
But  can  you  never  get  over  that? 

SOLNESS. 

No.  That  I  might  build  homes  for  others,  I 
had  to  forego — to  forego  for  all  time— the  home 
that  might  have  been  my  own.  I  mean  a  home 
for  a  troop  of  children — and  for  father  and  mother, 
too. 

HILDA. 

[Cautiously.]  But  need  you  have  done  that  ? 
For  all  time,  you  say  ? 

SOLNESS 

[Nods  slowly.]  That  was  the  price  of  this 
happiness  that  people  talk  about.  [Breathes 
heavily.]  This  happiness — h'm — this  happiness  was 
not  to  be  bought  any  cheaper,  Hilda. 

HILDA. 

[As  before.]  But  may  it  not  come  right  even 
vet  ? 


ACT    II.]  THE    MASTER    UUILDER.  285 


SOLNESS. 

Never  in  this  world — never.  That  is  another 
consequence  of  the  fire — and  of  Aline' s  illness 
afterwards. 

HILDA. 

[Looks  at  him  with  an  indefinable  expression  ]  And 
yet  you  build  all  these  nurseries  ? 

SOLNESS. 

[Seriously.']  Have  you  never  noticed,  Hilda,  how 
the  impossible — how  it  seems  to  beckon  and  cry 
aloud  to  one  ? 

HILDA. 

[Reflecting.']  The  impossible  ?  [With  animation.'] 
Yes,  indeed  !  Is  that  how  you  feel  too? 

SOLNESS. 
Yes,  I  do. 

HILDA. 

Then  there  must  be — a  little  of  the  troll  in  you 
too. 

SOLNESS. 
Why  of  the  troll? 

HILDA. 
What  would  you  call  it,  then  ? 

SOLNESS. 

[Rises.']  Well,  well,  perhaps  you  are  right- 
[  Vehemently.']  But  how  can  I  help  turning  into  a 
troll,  when  this  is  how  it  always  goes  with  me  in 
everything — in  everything  ! 

*  HILDA. 

How  do  you  mean  ? 


286  THE    MASTER     BUILDER.  [ACT    II. 

SoLNESS. 

[Speaking  low,  with  inward  emotion.']  Mark  what 
I  say  to  you,  Hilda.  All  that  I  have  succeeded  in 
doing,  building,  creating — all  the  beauty,  sequrity, 
cheerful  comfort — ay,  and  magnificence  too — 
[Clenches  his  hands.]  Oh,  is  it  not  terrible  even  to 
think  of ! 

HILDA. 
What  is  so  terrible  ? 

SOLNESS. 

That  all  this  I  have  to  make  up  for,  to  pay  for — 
not  in  money,  but  in  human  happiness.  And  not 
with  my  own  happiness  only,  but  with  other 
people's  too.  Yes,  yes,  do  you  see  that,  Hilda? 
That  is  the  price  which  my  position  as  an  artist 
has  cost  me — and  others  And  every  single  day 
I  have  to  look  on  while  the  price  is  paid  for  me 
anew.  Over  again,  and  over  again — and  over 
again  for  ever ! 

HILDA. 

[Rises  and  looks  steadily  at  him.]  Now  I  can  see 
that  you  are  thinking  of — of  her. 

SOLNESS. 

Yes,  mainly  of  Aline.  For  Aline — she,  too,  had 
her  vocation  in  life,  just  as  much  as  I  had  mine. 
[His  voice  quivers.]  But  her  vocation  has  had  to  be 
stunted,  and  crushed,  and  shattered — in  order 
that  mine  might  force  its  way  to — to  a  sort  of 
great  victory.  For  you  must  know  that  Aline — 
she,  too,  had  a  talent  for  building. 

HILDA. 
She  !     For  building  ? 


ACT    II.]  THE    MASTER    BUILDER.  287 

SoLNESS. 

[Shakes  his  head.]  Not  houses  and  towers,  and 
spires — not  such  things  as  I  work  away  at 

HILDA. 
Well,  but  what  then? 

SOLNESS. 

[Softly,  ivith  emotion.]  For  building  up  the  souls 
of  little  children,  Hilda.  For  building  up  chil- 
dren's souls  in  perfect  balance,  and  in  noble  and 
beautiful  forms.  For  enabling  them  to  soar  up 
into  erect  and  full-grown  human  souls.  That  was 
Aline's  talent.  And  there  it  all  lies  now — unused 
and  unusable  for  ever — of  no  earthly  service  to 
any  one — just  like  the  ruins  left  by  a  fire. 

HILDA. 
Yes,  but  even  if  this  were  so ? 

SOLNESS. 
It  is  so  !     It  is  so  !     I  know  it ! 

HILDA. 
Well,  but  in  any  case  it  is  not  your  fault. 

SOLNESS. 

[Fixes  his  eyes  on  her,  and  nods  slowly  J]  Ah,  that 
is  the  great,  the  terrible  question.  That  is  the 
doubt  that  is  gnawing  me — night  and  day. 

HILDA. 
That  ? 

SOLNESS. 

Yes.  Suppose  the  fault  was  mine — in  a  certain 
sense. 


S88  THE  MASTER  BUILDER.         [ACT  II. 

HILDA. 
Your  fault !     The  fire  ! 

SOLNESS. 

All  of  it ;  the  whole  thing.  And  yet,  perhaps 
— I  may  not  have  had  anything  to  do  with  it. 

HILDA. 

[Looks  at  him  with  a  troubled  expression]  Oh, 
Mr.  Solness — if  you  can  talk  like  that,  I  am  afraid 
you  must  be — ill,  after  all. 

SOLNESS. 

H'm — I  don't  think  I  shall  ever  be  of  quite 
sound  mind  on  that  point. 

RAGNAR  BROVIK  cautiously  opens  the  little  door  in 
the  left-hand  corner.     HILDA  comes  forward. 

RAGNAR. 

[When  he  sees  HILDA.]  Oh.  I  beg  pardon,  Mr. 
Solness [He  makes  a  movement  to  withdraw. 

SOLNESS. 
No,  no,  don't  go.     Let  us  get  it  over. 

RAGNAR. 
Oh,  yes — if  only  we  could. 

SOLNESS. 
I  hear  your  father  is  no  better  ? 

RAGNAR. 

Father  is  fast  growing  weaker — and  therefore 
I  beg  and  implore  you  to  write  a  few  kind  words 


ACT    II.]  THE    MASTER    BUILDER. 

for   me   on   one   of  the   plans  !     Something   for 
father  to  read  before  he 

SOLNESS. 

[Vehemently.]       I    won't    hear   anything    more 
about  those  drawings  of  yours  ! 

RAGNAR. 
Have  you  looked  at  them  ? 

SOLNESS. 
Yes — I  have. 

RAGNAR. 

And  they  are  good  for  nothing  ?  And  /  am 
good  for  nothing,  too  ? 

SOLNESS. 

[Evasively.]  Stay  here  with  me,  Ragnar.  You 
shall  have  everything  your  own  way.  And  then 
you  can  marry  Kaia,  and  live  at  your  ease — and 
happily  too,  who  knows  ?  Only  don't  think  of 
building  on  your  own  account. 

RAGNAR. 

Well,  well,  then  I  must  go  home  and  tell  father 
what  you  say — I  promised  I  would. — Is  this  what 
I  am  to  tell  father — before  he  dies  ? 

SOLNESS. 

[  With  a  groan.]  Oh  tell  him — tell  him  what  you 
will,  for  me.  Best  to  say  nothing  at  all  to  him  ! 
[With  a  sudden  outburst.]  I  cannot  do  anything 
else,  Ragnar ! 

RAGNAR. 

May  I  have  the  drawings  to  take  with  me  ? 
x  T 


290  THE    MASTER    BUILDER.  [ACT    II. 

SoLNESS. 

Yes,  take  them — take  them  by  all  means ! 
They  are  lying  there  on  the  table. 

RAGNAR. 
[Goes  to  the  table.']  Thanks. 

HILDA. 

[Puts  her  hand  on  the  portfolio.]  No,  no  ;  leave 
them  here. 

SOLNESS. 
Why? 

HILDA. 
Because  1  want  to  look  at  them,  too. 

SOLNESS, 

But  you  have  been [To  RAGNAR.]     Well, 

leave  the**  here,  then. 

RAGNAR. 
Very  well. 

SOLNESS. 
And  go  home  at  once  to  your  father. 

RAGNAR. 
Yes,  I  suppose  I  must. 

SOLNESS. 

[As  if  in  desperation.}  Ragnar — you  must  not 
ask  me  to  do  what  is  beyond  my  power !  Do  you 
hear,  Ragnar  ?  You  must  not ! 


ACT  II.]         THE  MASTER  BUILDER.  291 

RAONAR. 

No,  no.     I  beg  your  pardon 

[He  bows,  and  goes  out  by  the  corner  door. 
HILDA  goes  over  and  sits  down  on  a 
chair  near  the  mirror. 

HILDA. 

[Looks  angrily  at  SOLNESS.]     That  was   a  very 
ugly  thing  to  do. 

SOLNESS. 
Do  you  think  so,  too  ? 

HILDA. 

Yes,  it  was  horribly  ugly — and  hard  and  bad 
and  cruel  as  well. 

SOLNESS. 
Oh,  you  don't  understand  my  position. 

HILDA. 

No  matter .     I    say  you  ought  not  to  be 

like  that. 

SOLNESS. 

You  said  yourself,  only  just  now,  that  no  one 
but  /  ought  to  be  allowed  to  build. 

HILDA. 
/  may  say  such  things — but  you  must  not. 

SOLNESS. 

I  most  of  all,  surely,  who  have  paid  so  dear  for 
my  position. 


292  THE  MASTER   BUILDER.         [ACT  II. 

HILDA. 

Oh  yes — with  what  you  call  domestic  comfort 
— and  that  sort  of  thing. 

SoLNESS. 

And  with  my  peace  of  soul  into  the  bargain. 

HILDA. 

[Rising.]  Peace  of  soul !  [With  feeling.]  Yes, 
yes,  you  are  right  in  that  !  Poor  Mr.  Sol  ness — 
you  fancy  that — 

SOLNESS. 

[With  a  quiet,  chuckling  laugh.]  Just  sit  down 
again,  Hilda,  and  I'll  tell  you  something  funny. 

HILDA. 
[Sits  down  ;  with  intent  interest.]     Well  ? 

SOLNESS. 

It  sounds  such  a  ludicrous  little  thing  ;  for,  you 
see,  the  whole  story  turns  upon  nothing  but  a 
crack  in  a  chimney. 

HILDA. 
No  more  than  that  ? 

SOLNESS. 
No,  not  to  begin  with. 

[He  moves  a  chair  nearer  to    HILDA  and 
sits  down. 

HILDA. 

[Impatiently,  taps  on  her  knee.]  Well,  now  for 
the  crack  in  the  chimney ! 


ACT    I  I.I  THE    MASTER    BUILDER.  293 


SOLNESS. 

I  had  noticed  the  split  in  the_flue  long,  long 
before  the  fire.  Every  time  I  went  up  into  the 
attic,  I  looked  to  see  if  it  was  still  there. 

HILDA. 
And  it  was  ? 

SOLNESS. 
Yes ;  for  no  one  else  knew  about  it. 

HILDA. 
And  you  said  nothing  ? 

SOLNESS. 
Nothing. 

HILDA. 

And  did  not  think  of  repairing  the  flue  either  ? 

SOLNESS. 

Oh  yes,  I  thought  about  it — but  never  got  any 
further.  Every  time  I  intended  to  set  to  work, 
it  seemed  just  as  if  a  hand  held  me  back.  Not 
to-day,  I  thought — to-morrow-;  and  nothing  ever 
came  of  it. 

HILDA. 
But  why  did  you  keep  putting  it  off  like  >that  ? 

SOLNESS. 

Because  I  was  revolving  something  in  my  mind. 
[Slowly,  and  in  a  low  voice.~\  Through  that  little 
black  crack  in  the  chimney,  I  might,  perhaps, 
force  my  way  upwards — as  a  builder. 


294-  THE  MASTER  BUILDER.         [ACT  II. 

HILDA. 

[Looking  straight  in  front  of  her.']  That  must  have 
been  thrilling. 

SOLNESS. 

Almost  irresistible — quite  irresistible.  For  at 
that  time  it  appeared  to  me  a  perfectly  simple 
and  straightforward  matter.  I  would  have  had  it 
happen  in  the  winter-time — a  little  before  midday. 
1  was  to  be  out  driving  Aline  in  the  sleigh.  The 
servants  at  home  would  have  made  huge  fires  in 
the  stoves. 

HILDA 

For,  of  course,  it  was  to  be  bitterly  cold  that 
day  ? 

SOLNESS. 

Rather  biting,  yes — and  they  would  want  Aline 
to  find  it  thoroughly  snug  and  warm  when  she 
came  home. 

HILDA. 

I  suppose  she  is  very  chilly  by  nature  ? 

SOLNESS. 

She  is.  And  as  we  drove  home,  we  were  to  see 
the  smoke. 

HILDA. 
Only  the  smoke  ? 

SOLNESS. 

The  smoke  first.  But  when  we  came  up  to  the 
garden  gate,  the  whole  of  the  old  timber- box  was 
to  be  a  rolling  mass  of  flames. — That  is  how  I 
wanted  it  to  be,  you  see. 

HILDA. 
Oh  why,  why  could  it  not  have  happened  so ! 


ACT   II.]  THE    MASTER    BUILDER.  295 

SoLNESS. 

You  may  well  say  that,  Hilda. 

HILDA. 

Well,  but  now  listen,  Mr.  Solness.  Are  you 
perfectly  certain  that  the  fire  was  caused  by  that 
little  crack  in  the  chimney  ! 

SOLNESS. 

No,  on  the  contrary — I  am  perfectly  certain 
that  the  crack  in  the  chimney  had  nothing  what- 
ever to  do  with  the  fire. 

HILDA. 

What! 

SOLNESS. 

It  has  been  clearly  ascertained  that  the  fire 
broke  out  in  a  clothes-cupboard — in  a  totally 
different  part  of  the  house. 

HILDA. 

Then  what  is  all  this  nonsense  you  are  talking 
about  the  crack  in  the  chimney  ! 

SOLNESS. 
May  I  go  on  talking  to  you  a  little,  Hilda  ? 

HILDA. 
Yes,  if  you'll  only  talk  sensibly 

SOLNESS. 
I  will  try  to.  [He  moves  his  chair  nearer. 

HILDA. 
Out  with  it,  then,  Mr.  Solness. 


THE    MASTER    BUILDER.  [ACT    II. 

SoLNESS. 

'Confidentially.}  Don't  you  agree  with  me, 
Hilda,  that  there  exist  special,  chosen  people  who 
have  been  endowed  with  the  power  and  faculty 
of  desiring  a  thing,  craving  for  a  thing,  willing 
a  thing — so  persistently  and  so — so  inexorably — • 
that  at  last  it  has  to  happen  ?  Don't  you  believe 
that  ? 

HILDA. 

\_With  an  indefinable  expression  in  her  eyes.}  If 
that  is  so,  we  shall  see,  one  of  these  days,  whether 
/  am  one  of  the  chosen. 

SOLNESS. 

It  is  not  one's  self  alone  that  can  do  such  great 
things.  Oh,  no — the  helpers  and  the  servers — 
they  must  do  their  part  too,  if  it  is  to  be  of  any 
good.  But  they  never  come  of  themselves.  One 
has  to  call  upon  them  very  persistently — inwardly, 
you  understand. 

HILDA. 
What  are  these  helpers  and  servers  ? 

SOLNESS. 

Oh,  we  can  talk  about  that  some  other  time. 
For  the  present,  let  us  keep  to  this  business  of 
the  fire. 

HILDA. 

Don't  you  think  that  fire  would  have  happened 
all  the  same — even  without  your  wishing  for  it  ? 

SOLNESS. 

If  the  house  had  been  old  Knut  Brovik's,  it 
would  never  have  burnt  down  so  conveniently  for 


ACT    II.]  THE    MASTER    BUILDER. 

him.  I  am  sure  of  that;  for  he  does  not  know 
how  to  call  for  the  helpers — no,  nor  for  the 
servers,  either.  [Rises  in  unrest]  So  you  see, 
Hilda — it  is  my  fault,  after  all,  that  the  lives  of 
the  two  little  boys  had  to  be  sacrificed.  And  do 
you  think  it  is  not  my  fault,  too,  that  Aline  has 
never  been  the  woman  she  should  and  might  have 
been — and  that  she  most  longed  to  be  ? 

HILDA. 

Yes,  but  if  it  is  all  the  work  of  those  helpers 
and  servers ? 

SOLNESS. 

Who  called  for  the  helpers  and  servers  ?  It 
was  I !  And  they  came  and  obeyed  my  will.  [In 
increasing  excitement.]  That  is  what  people  call 
having  the  luck  on  your  side ;  but  1  must  tell 
you  what  this  sort  of  luck  feels  like  !  It  feels 
like  a  great  raw  place  here  on  my  breast.  And 
the  helpers  and  servers  keep  on  flaying  pieces  of 
skin  off  other  people  in  order  to  close  my  sore  ! 
— But  still  the  sore  is  not  healed — never,  never ! 
Oh,  if  you  knew  how  it  can  sometimes  gnaw  and 
burn 

HILDA. 

[Looks  attentively  at  him.]  You  are  ill,  Mr. 
Solness.  Very  ill,  I  almost  think. 

SOLNESS. 
Say  mad  ;  for  that  is  what  you  mean. 

HILDA. 

No,  I  don't  think  there  is  much  "amiss  with 
your  intellect. 


298  THE    MASTER    BUILDER.  [ACT    II. 

SoLNESS. 

With  what  then  ?     Out  with  it ! 

HILDA. 

I  wonder  whether  you  were  not  sent  into  the 
world  with  a  sickly  conscience. 

SOLNESS. 
A  sickly  conscience  ?     What  devilry  is  that ? 

HILDA. 

I  mean  that  your  conscience  is  feeble — too 
delicately  built,  as  it  were — hasn't  strength  to 
take  a  grip  of  things — to  lift  and  bear  what  is 
heavy. 

SOLNESS. 

[Growls.]  H'm  !  May  I  ask,  then,  what  sort 
of  a  conscience  one  ought  to  have  ? 

HILDA. 

I  should  like  your  conscience  to  be — to  be 
thoroughly  robust. 

SOLNESS. 

Indeed  ?  Robust,  eh  ?  Is  your  own  conscience 
robust,  may  I  ask  ? 

HILDA. 

Yes,  I  think  it  is.  I  have  never  noticed  that  it 
wasn't. 

SOLNESS. 

It  has  not  been  put  very  severely  to  the  test,  I 
should  think. 


ACT  II.]         THE  MASTER  BUILDER.  299 

HILDA. 

[With  a  quivering  of  the  lips.]  Oh,  it  was  no 
such  simple  matter  to  leave  father — I  am  so 
awfully  fond  of  him. 

SoLNESS. 

Dear  me  !  for  a  month  or  two 

HILDA. 
I  think  I  shall  never  go  home  again. 

SOLNESS. 
Never  ?     Then  why  did  you  leave  him  ? 

HILDA. 

[Half -seriously,  half-banteringly.]  Have  you 
forgotten  again  that  the  ten  years  are  up  ? 

SOLNESS. 

Oh  nonsense.  Was  anything  wrong  at  home  :• 
Eh? 

HILDA. 

[Quite  seriously.]  It  was  this  impulse  within  me, 
that  urged  and  goaded  me  to  come — and  lured 
and  drew  me  on,  as  well. 

SOLNESS. 

[Eagerly.]  There  we  have  it !  There  we  have 
it,  Hilda !  There  is  a  troll  in  you  too,  as  in  me. 
For  it's  the  troll  in  one,  you  see — it  is  that  that 
calls  to  the  powers  outside  us.  And  then  you 
must  give  in — whether  you  will  or  no. 

HILDA. 
I  almost  think  you  are  right,  Mr.  Solness. 


300  THE    MASTER    BUILDER.  [ACT    II. 

SOLNESS. 

[Walks  about  the  room.]  Oh,  there  are  devils 
innumerable  abroad  in  the  world,  Hilda,  that  one 
never  sees ! 

HILDA. 
Devils,  too  ? 

SOLNESS. 

[Stops.]  Good  devils  and  bad  devils ;  light- 
haired  devils  and  black-haired  devils.  If  only 
you  could  always  tell  whether  it  is  the  light  or 
dark  ones  that  have  got  hold  of  you  !  [Paces 
about.]  Ho-ho !  Then  it  would  be  simple 
enough ! 

HILDA. 

[Follows  him  with  her  eyes.]  Or  if  one  had  a 
really  vigorous,  radiantly  healthy  conscience — so 
that  one  dared  to  do  what  one  would. 

SOLNESS. 

[Stops  beside  the  console  table.]  I  believe,  now, 
that  most  people  are  just  as  puny  creatures  as  I 
am  in  that  respect. 

HILDA. 
I  shouldn't  wonder. 

SOLNESS. 

[Leaning  against  the  table,]     In  the  sagas . 

Have  you  read  any  of  the  old  sagas  ? 

HILDA. 
Oh  yes  !     When  I  used  to  read  books,  I 


ACT    II.]  THE    MASTER    BUILDER.  301 

SOLNESS 

In  the  sagas  you  read  about  vikings,  who  sailed 
to  foreign  lands,  and  plundered  and  burned  and 
killed  men 

HILDA. 
And  carried  off  women 


SOLNESS. 
— and  kept  them  in  captivity 

HILDA. 
— took  them  home  in  their  ships 

SOLNESS. 

— and  behaved  to  them  like — like  the  very 
worst  of  trolls. 

HILDA. 

[Looks  straight  before  her,  with  a  half -veiled  look.] 
I  think  that  must  have  been  thrilling. 

SOLNESS. 

[JVith  a  short,  deep  laugh.]  To  carry  off  women 
eh? 

HILDA. 
To  be  carried  off. 

SOLNESS. 
[Looks  at  her  a  moment.]     Oh,  indeed. 

HILDA. 

[As  if  breaking  the  thread  of  the  conversation.] 
But  what  made  you  speak  of  these  vikings, 
Mr.  Solness  ? 


302  THE    MASTER    BUILDER.  [ACT    II. 

SoLNESS. 

Why,  those  fellows  must  have  had  robust 
consciences,  if  you  like  !  When  they  got  home 
again,  they  could  eat  and  drink,  and  be  as  happy 
as  children.  And  the  women,  too  !  They  often 
would  not  leave  them  on  any  account.  Can  you 
understand  that,  Hilda? 

HILDA. 
Those  women  I  can  understand  exceedingly  well. 

SOLNESS. 

Oho  !  Perhaps  you  could  do  the  same  your- 
self? 

HILDA. 
Why  not  ? 

SOLNESS. 

Live — of  your  own  free  will — with  a  ruffian  like 
that  ? 

HILDA. 
If  it  was  a  ruffian  I  had  come  to  love 

SOLNESS. 
Could  you  come  to  love  a  man  like  that  ? 

HILDA. 

Good  heavens,  you  know  very  well  one  can't 
choose  whom  one  is  going  to  love. 

SOLNESS. 

[Looks  meditatively  at  herJ\  Oh  no,  I  suppose  it 
is  the  troll  within  one  that's  responsible  for  that. 


ACT  II.]         THE   MASTER   BUILDER.  305 

HILDA. 

[Half-laughing.]  And  all  those  blessed  devils, 
that  you  know  so  well — both  the  light-haired 
and  the  dark-haired  ones. 

SOLNESS. 

[Quietly  and  warmly.]  Then  I  hope  with  all  my 
heart  that  the  devils  will  choose  carefully  for 
you,  Hilda. 

HILDA. 

For  me  they  have  chosen  already— once  and 
for  all. 

SOLNESS. 

[Looks  earnestly  at  her.]  Hilda — you  are  like  a 
wild  bird  of  the  woods. 

HILDA. 

Far  from  it.  I  don't  hide  myself  away  under 
the  bushes. 

SOLNESS. 

No,  no.  There  is  rather  something  of  the  bird 
of  prey  in  you. 

HILDA. 

That  is  nearer  it — perhaps.  [Very  vehemently.] 
And  why  not  a  bird  of  prey  ?  Why  should  not  / 
go  a-hunting — I,  as  well  as  the  rest  ?  Carry  off 
the  prey  I  want — if  only  1  can  get  my  claws  into 
it,  and  do  with  it  as  I  will. 

SOLNESS. 
Hilda — do  you  know  what  you  are  ? 

HILDA. 
Yes,  I  suppose  I  am  a  strange  sort  of  bird. 


304  THE    MASTER    BUILDER.  [ACT    II. 

SoLNESS. 

No.  You  are  like  a  dawning  day.  When  I 
look  at  you — I  seem  to  be  looking  towards  the 
sunrise. 

HILDA. 

Tell  me,  Mr.  Solness — are  you  certain  that  you 
have  never  called  me  to  you  ?  Inwardly,  you 
know  ? 

SOLNESS. 
[Softly  and  slowly.]    I  almost  think  I  must  have- 

HILDA. 
What  did  you  want  with  me  ? 

SOLNESS. 
You  are  the  younger  generation,  Hilda. 

HILDA. 

[Smiles.]  That  younger  generation  that  you 
are  so  afraid  of? 

SOLNESS. 

[Nods  slowly.]  And  which,  in  my  heart,  I  yearn 
towards  so  deeply. 

[HILDA  rises,  goes  to  the  little  table,  and 
fetches  RAGNAR  BROVIK'S  portfolio. 

HILDA. 

[Holds  out  the  portfolio  to  him.~\  We  were  talking 
of  these  drawings — 

SOLNESS. 

[Shortly,  waving  them  away.]  Put  those  things 
away  !  I  have  seen  enough  of  them. 


ACT  II.]         THE   MASTER   BUILDER. 

HILDA. 

Yes,  but  you  have  to  write  your  approval  on 
them. 

SOLNESS. 
Write  my  approval  on  them  ?     Never  ! 

HILDA. 

But  the  poor  old  man  is  lying  at  death's  door  ! 
Can't  you  give  him  and  his  son  this  pleasure 
before  they  are  parted  ?  And  perhaps  he  might 
get  the  commission  to  carry  them  out,  too. 

SOLNESS. 

Yes,  that  is  just  what  he  would  get.  He  has 
made  sure  of  that — has  my  fine  gentleman  ! 

HILDA. 

Then,  good  heavens — if  that  is  so — can't  you 
tell  the  least  little  bit  of  a  lie  for  once  in  a  way  ? 

SOLNESS. 

A  lie?  [Raging.]  Hilda — take  those  devil's 
drawings,  out  of  my  sight  ! 

HILDA. 

[Draws  the  portfolio  a  little  nearer  to  herself.] 
Well  well,  well — don't  bite  me. — You  talk  of 
trolls — but  I  think  you  go  on  like  a  troll  your- 
self. [Looks  round.]  Where  do  you  keep  your 
pen  and  ink  ? 

SOLNESS. 
There  is  nothing  of  the  sort  in  here. 


306  THE  MASTER  BUILDER.         [ACT  II. 

HILDA. 

[Goes  towards  the  door."}  But  in  the  office  where 
that  young  lady  is 

SOLNESS. 

Stay  where  you  are,  Hilda  ! — I  ought  to  tell  a 
lie,  you  say.  Oh  yes,  for  the  sake  of  his  old 
father  I  might  well  do  that — for  in  my  time  I 
have  crushed  him,  trodden  him  under  foot 

HILDA. 
Him,  too  ? 

SOLNESS. 

I  needed  room  for  myself.  But  this  Ragnar — 
he  must  on  no  account  be  allowed  to  come  to  the 
front. 

HILDA. 

Poor  fellow,  there  is  surely  no  fear  of  that.  If 
he  has  nothing  in  him — 

SOLNESS. 

[Comes  closer,  looks  at  her,  and  whispers.]  If 
Ragnar  Brovik  gets  his  chance,  he  will  strike 
me  to  the  earth.  Crush  me — as  I  crushed  his 
father. 

HILDA. 
Crush  you  ?     Has  he  the  ability  for  that  ? 

SOLNESS. 

Yes,  you  may  depend  upon  it  he  has  the 
ability  !  He  is  the  younger  generation  that  stands 
ready  to  knock  at  my  door — to  make  an  end  of 
Halvard  Solness. 


ACT  II.]         THE   MASTER   BUILDER.  307 

HILDA. 

[Looks  at  him  with  quiet  reproach.]  And  yet  you 
would  bar  him  out.  Fie,  Mr.  Solness  ! 

SoLNESS. 

The  fight  I  have  been  fighting  has  cost  heart' i 
blood  enough. — And  I  am  afraid,  too,  that  the 
helpers  and  servers  will  not  obey  me  any  longer. 

HILDA. 

Then  you  must  go  ahead  without  them.  There 
is  nothing  else  for  it. 

SOLNESS. 

It  is  hopeless,  Hilda.  The  luck  is  bound  to 
turn.  A  little  sooner  or  a  little  later.  Retribu- 
tion is  inexorable. 

HILDA. 

[fn  distress,  putting  her  hands  over  her  ears.] 
Don't  talk  like  that !  Do  you  want  to  kill  me  ? 
To  take  from  me  what  is  more  than  my  life  ? 

SOLNESS. 
And  what  is  that  ? 

HILDA. 

The  longing  to  see  you  great.  To  see  you, 
with  a  wreath  in  your  hand,  high,  high  up  upon  a 
church-tower.  [Calm  again.]  Come,  out  with 
your  pencil  now.  You  must  have  a  pencil  about 
you? 

SOLNESS. 
[Takes  out  his  2>ockel-book.]     I  have  one  here. 


308  THE  MASTER  BUILDER.         [ACT  II. 

HILDA. 

\_Lays  the  portfolio  on  the  sofa-table .]  Very  well. 
Now  let  us  two  sit  down  here,  Mr.  Solness. 
[SoLNESS  seats  himself  at  the  table.  HILDA  stands  be- 
hind him,  leaning  over  the  back  of  the  chair.]  And 
now  we  will  write  on  the  drawings.  We  must 
write  very,  very  nicely  and  cordially — for  this 
horrid  Ruar — or  whatever  his  name  is. 

SOLNESS. 

[Writes  a  few  words,  turns  his  head  and  looks  at 
herl\  Tell  me  one  thing,  Hilda. 

HILDA. 
Yes! 

SOLNESS. 
If  you  have  been  waiting   for  me  all  these  ten 

years 

HILDA. 
What  then  ? 

SOLNESS. 

Why  have  you  never  written  to  me  ?  Then  I 
could  have  answered  you. 

HILDA. 

[Hastily."]  No,  no,  no  !  That  was  just  what  I 
did  not  want. 

SOLNESS. 
Why  not  ? 

HILDA. 

I  was  afraid  the  whole  thing  might  fall  to 
pieces. — But  we  were  going  to  write  on  the 
drawings,  Mr.  Solness. 


ACT    II.]  THE    MASTER    BUILDER.  309 


SOLNESS. 

So  we  were. 

HILDA. 

[Bends  forward  and  looks  over  his  shoulder  while 
he  writes.]  Mind  now,  kindly  and  cordially  !  Oh 
how  I  hate — how  I  hate  this  Ruald 

SOLNESS. 

[  Writing.]  Have  you  never  really  cared  for  any 
one,  Hilda? 

HILDA. 
[Harshly]     What  do  you  say  ? 

SOLNESS. 
Have  you  never  cared  for  any  one  ? 

HILDA. 
For  any  one  else,  I  suppose  you  mean  ? 

SOLNESS. 

[Looks  up  at  her.]  For  any  one  else,  yes.  Have 
you  never  ?  In  all  these  ten  years  ?  Never  ? 

HILDA. 

Oh  yes,  now  and  then.  When  I  was  perfectly 
furious  with  you  for  not  coming. 

SOLNESS. 

Then  you  did  take  an  interest  in  other  people, 
too? 

HILDA. 

A  little  bit — for  a  week  or  so.  Good  heavens, 
Mr.  Solness,  you  surely  know  how  such  things 
come  about. 


310  THE    MASTER    BUILDER.  [ACT    II. 

SoLNESS. 

Hilda — what  is  it  you  have  come  for  ? 

HILDA. 

Don't  waste  time  talking.     The  poor  old  man 
might  go  and  die  in  the  meantime. 

SOLNESS. 
Answer  me  Hilda.     What  do  you  want  of  me  ? 

HILDA. 
I  want  my  kingdom. 

SOLNESS. 
H'm 


He  gives  a  rapid  glance  towards  the  door  on  the  left, 
and  then  goes  on  writing  on  the  drawings.  At 
the  same  moment  MRS.  SOLNESS  enters;  she  has 
some  packages  in  her  hand. 

MRS.  SOLNESS. 

Here  are  a  few  things  I  hi-ve  got  for  you,  Miss 
Wangel.     The  large  parcels  will  be  sent  later  on. 

HILDA. 
Oh,  how  very,  very  kind  of  you  ! 

MRS.  SOLNESS. 
Only  my  simple  duty.    Nothing  more  than  that. 

SOLNESS. 
[Reading  over  what  he  has  written.]     Aline  ! 

MRS.  SOLNESS. 
Yes? 


ACT    II.]  THE    MASTER    BUILDER.  311 

SOLXESS. 

Did  you  notice  whether  the — the  book-keeper 
was  out  there  ? 

MRS.  SOLXESS. 
Yes,  of  course,  she  was  there. 

SOLXESS. 
[Puts  the  drawings  in  the  portfolio.]     H'm 


MRS.  SOLXESS. 

She  was  standing  at  the  desk,  as  she  always  is 
— when  /  go  through  the  room. 

SOLXESS. 

[/?««*.]  Then  I'll  give  this  to  her,  and  tell  her 
that 

HILDA. 

[Takes  the  portfolio  from  him.~\  Oh,  no,  let  me 
have  the  pleasure  of  doing  that !  [Goes  to  the  door, 
but  turns.]  What  is  her  name  ? 

SOLXESS. 
Her  name  is  Miss  Fosli. 

HILDA. 

Pooh,  that  sounds  so  cold  !  Her  Christian  name, 
I  mean  ? 

SOLXESS. 
Kaia — I  believe. 

HILDA. 

[Opens  the  door  and  calls  out.]  Kaia,  come  in 
here  !  Make  haste  !  Mr.  Solness  wants  to  speak 
to  you. 


'THE    MASTER    BUILDER.  [ACT    it. 

KAIA  FOSLI  appears  at  the  door. 

KAIA. 
[Looking  at  him  in  alarm.]     Here  I  am- ? 

HILDA. 

[Handing  her  the  portfolio .J  See  here,  Kaia  !  You 
can  take  this  home  ;  Mr.  Solness  has  written  on 
them  now. 

KAIA. 
Oh,  at  last ! 

SOLNESS. 

Give  them  to  the  old  man  as  soon  as  you  can. 

KAIA. 
I  will  go  straight  home  with  them. 

SOLNESS. 

Yes,  do.  Now  Ragnar  will  have  a  chance  of 
building  for  himself. 

KAIA. 
Oh,  may  he  come  and  thank  you  for  all ? 

SOLNESS. 

[Harshly.]  I  won't  have  any  thanks !  Tell 
him  that  from  me. 

KAIA. 
Yes,  I  will— 

SOLNESS. 

And  tell  him  at  the  same  time  that  hencefor- 
ward I  do  not  require  his  services—  nor  yours 
either. 

KAIA. 
[Softly  and  quiveringly.]      Not  mine  either  ? 


ACT    II.]  THE    MASTER    BUILDER.  313 

SOLNESS. 

You  will  have  other  things  to  think  of  now,  and 
to  attend  to ;  and  that  is  a  very  good  thing  for 
you.  Well,  go  home  with  the  drawings  now,  Miss 
Fosli.  At  once  !  Do  you  hear  ? 

KAIA. 
[As  before.]     Yes,  Mr.  Solness.         [She  goes  out. 

MRS.  SOLNESS. 
Heavens  !  what  deceitful  eyes  she  has. 

SOLNESS. 
She  ?     That  poor  little  creature  ? 

MRS.  SOLNESS. 

Oh — I  can  see  what   I    can    see,  Halvard. 

Are  you  really  dismissing  them  ? 

SOLNESS. 
Yes. 

MRS.  SOLNESS. 
Her  as  well  ? 

SOLNESS. 
Was  not  that  what  you  wished  ? 

MRS.  SOLNESS. 

But  how  can  you  get  on  without  h  er ?  Oh 

well,  no  doubt  you  have  some  one  else  in  reserve, 
Halvard. 

HILDA. 

[Playfully.]  Well,  7  for  one  am  not  the  person 
to  stand  at  that  desk. 


314  THE    MASTER    BUILDER.  [ACT    II. 

SoLNESS. 

Never  mind,  never  mind — it  will  be  all  right, 
Aline.  Now  all  you  have  to  do  is  to  think  about 
moving  into  our  new  home — as  quickly  as  you  can. 
This  evening  we  will  hangup  the  wreath — [Turns 
to  HILDA] — right  on  the  very  pinnacle  of  the 
tower.  What  do  you  say  to  that,  Miss  Hilda  ? 

HILDA. 

[I^ooks  at  him  with  sparkling  eyes.]  It  will  be 
splendid  to  see  you  so  high  up  once  more. 

SOLNESS. 
Me! 

MRS.  SOLNESS. 

For  Heaven's  sake,  Miss  Wangel,  don't  imagine 
such  a  thing  !  My  husband ! — when  he  always 
gets  so  dizzy  ! 

HILDA. 

H  e  get  dizzy  !  No,  I  know  quite  well  he  does 
not  ! 

MRS.  SOLNESS. 
Oh  yes,  indeed  he  does. 

HILDA. 

But  I  have  seen  him  with  my  own  eyes  right 
up  at  the  top  of  a  high  church-tower ! 

MRS.  SOLNESS. 

Yes,  I  hear  people  talk  of  that ;  but  it  is  utterly 
impossible — 

SOLNESS. 

[Vehemently.]  Impossible — impossible, yes  !  But 
there  I  stood  all  the  same ! 


ACT    IT.]  THE    MASTER    BUILDER.  315 


MRS.  SOLNESS. 

Oh,  how  can  you  say  so,  Halvard  ?  Why,  you 
can't  even  bear  to  go  out  on  the  second-storey 
balcony  here.  You  have  always  been  like  that. 

SOLNESS. 

You  may  perhaps  see  something  different  this 
evening. 

MRS.  SOLNESS. 

[In  alarm.]  No,  no,  no  !  Please  God  I  shall 
never  see  that.  I  will  write  at  once  to  the 
doctor — and  I  am  sure  he  won't  let  you  do  it. 

SOLNESS. 
Why,  Aline ! 

MRS.  SOLNESS. 

Oh,  you  know  you're  ill,  Halvard.  This  proves 
it !  Oh  God— Oh  God  ! 

[She  goes  hastily  out  to  the  right 

HILDA. 
[Looks  intently  at  him.]     Is  it  so,  or  is  it  not? 

SOLNESS. 
That  I  turn  dizzy  ? 

HILDA. 

That  my  master  builder  dares  not — cannot— 
climb  as  high  as  he  builds  ? 

SOLNESS. 
Is  that  the  way  you  look  at  it  ? 

HILDA. 
Yes. 


3l6  THE    MASTER     BUILDER.  PACT    II. 


SoLNESS. 

I  believe  there  is  scarcely  a  corner  in  me  that 
is  safe  from  you. 

HILDA. 

[Looks  towards  the  botv-windorv.]  Up  there,  then. 
Right  up  there 

SOLNESS. 

[Approaches  her.]  You  might  have  the  topmost 
room  in  the  tower,  Hilda — there  you  might  live 
like  a  princess. 

HILDA. 

[Indefinably,  between  earnest  and  jest.]  Yes,  that 
is  what  you  promised  me. 

SOLNESS. 
Did  I  really  ? 

HILDA. 

Fie,  Mr.  Solness  !  You  said  I  should  be  a  prin- 
cess, and  that  you  would  give  me  a  kingdom. 
And  then  you  went  and —  —Well ! 

SOLNESS. 

[Cautiously.]  Are  you  quite  certain  that  this  is 
not  a  dream — a  fancy,  that  has  fixed  itself  in  your 
mind  ? 

HILDA. 

[Sharply.]  Do  you  mean  that  you  did  not  do 
it? 

SOLNESS. 

I  scarcely  know  myself.  [More  softly.]  But  now 
I  know  so  much  for  certain,  that  1 


ACT  II.]         THE   MASTER   BUILDER.  81? 

HILDA. 
That  you ?     Say  it  at  once  .' 

SOLNESS. 
— that  I  ought  to  have  done  it. 

HILDA. 

[Exclaims  with  animation.]  Don't  tell  me  you  can 
ever  be  dizzy ! 

SOLNESS. 

This  evening,  then,  we  will  hang  up  the  wreath 
— Princess  Hilda. 

HILDA. 

[With  a  bitter  curve  of  the  lips.]  Over  your  new 
home,  yes. 

SOLNESS. 

Over  the  new  house,  which  will  never  be  a 
home  for  me. 

[He  goes  out  through  the  garden  door. 

HILDA. 

[Looks  straight  in  front  of  her  with  a  far-away 
expression,  and  whispers  to  herself.  The  only  wordu 
audible  are] frightfully  thrilling 


ACT  THIRD. 

The  large,  broad  verandah  of  SOLNESS'S  dwelling- 
house.  Part  of  the  house,  with  outer  door 
leading  to  the  verandah,  is  seen  to  the  left.  A 
railing  along  the  verandah  to  the  right.  At  the 
back,  from  the  end  of  the  verandah,  a  flight  of 
steps  leads  down  to  the  garden  below.  Tall 
old  trees  in  the  garden  spread  their  branches  over 
the  verandah  and  towards  the  house.  Far  to  the 
right,  in  among  the  trees,  a  glimpse  is  caught  of 
the  lower  part  of  the  new  villa,  with  scajfblding 
round  so  much  as  is  seen  of  the  tower.  In  the 
background  Ike  garden  is  bounded  Ivy  an  old 
wooden  fence.  Outside  the  fence,  a  street  with 
low,  tumble-down  cottages. 

Evening  sky  with  sun-lit  clouds. 

On  the  verandah,  a  garden  bench  stands  along  the  wall 
of  the  house,  and  in  front  of  the  bench  a  long 
table.  On  the  other  side  of  the  table,  an  arm- 
chair and  some  stooh.  All  the  furniture  is  of 
wicker-work. 

MKS.  SOLNESS,  wrapped  in  a  large  white  crape  shawl, 
sits  resting  in  the  arm-chair  and  gazes  over  to  the 
right.  Shortly  after,  HILDA  WANGEL  comes  up 
the  flight  of  steps  from  the  garden.  She  is 
dressed  as  in  the  last  act,  and  wears  her  hat.  She 
has  in  her  bodice  a  little  nosegay  of  small  common 
flowers. 


ACT  III.]       THE  MASTER  BUILDER.  319 

MRS.  SOLNESS. 

[Turning  her  head  a  little.]   Have  you  been  round 
the  garden,  Miss  Wangel  ? 

HILDA. 
Yes,  I  have  been  taking  a  look  at  it. 

MRS.  SOLNESS. 
And  found  some  flowers  too,  I  see. 

HILDA. 

Yes,  indeed  !     There  are  such  heaps  of  them  in 
among  the  bushes. 

MRS.  SOLNESS. 

Are   there  really  ?     Still  ?     You  see  I  scarcely 
ever  go  there. 

HILDA. 

[Closer.]     What !      Don't  you  take  a  run  down 
into  the  garden  every  day,  then  ? 

MRS.  SOLNESS. 

[With  a  faint  smile.]     I  don't  "run"  anywhere, 
nowadays. 

HILDA. 

Well,  but  do  you  not  go  down  now  and  then  t<> 
look  at  all  the  lovely  things  there  ? 

MRS.  SOLNESS. 

It  has  all  become  so  strange  to  me.   I  am  almost 
afraid  to  see  it  again. 

HILDA. 
Your  own  garden ! 


320  THE   MASTER   BUILDER.        [ACT  III. 

MRS.  SOLNESS. 
I  don't,  feel  that  it  is  mine  any  longer. 

HILDA. 
What  do  you  mean ? 

MRS.  SOLNESS. 

No,  no,  it  is  not — not  as  it  was  in  my  mother's 
and  father's  time.  They  have  taken  away  so  much 
— so  much  of  the  garden,  Miss  Wangel.  Fancy — - 
they  have  parcelled  it  out — and  built  houses  for 
strangers — people  that  I  don't  know.  And  they 
can  sit  and  look  in  upon  me  from  their  windows. 

HILDA. 
[With  a  bright  expression.]     Mrs.  Solness  ! 

MRS.  SOLNESS. 
Yes! 

HILDA. 
May  I  stay  here  with  you  a  little  ? 

MRS.  SOLNESS. 
Yes,  by  all  means,  if  you  care  to. 

[HILDA  moves  a  stool  close  to  the  arm-chair 
and  sits  down. 

HILDA. 

Ah — here  one  can  sijt  and  sun  oneself  like  a 
cat. 

MRS.  SOLNESS. 

[Lays  her  hand  sofdy  on  HILDA'S  neckJ]  It  is  nice 
of  you  to  be  willing  to  sit  with  me.  I  thought  you 
wanted  to  go  in  to  my  husband. 


ACT    III.]          THE    MASTER    BUILDER.  321 


HILDA. 
What  should  I  want  with  him  ? 

MRS.  SOLNESS. 
To  help  him,  I  thought. 

HILDA. 

No,  thank  you.  And  besides,  he  is  not  in.  He 
is  over  there  with  his  workmen.  But  he  looked 
so  fierce  that  I  did  not  dare  to  talk  to  him. 

MRS.  SOLNESS. 
He  is  so  kind  and  gentle  in  reality. 

HILDA. 
He! 

MRS.  SOLNESS. 
You  do  not  really  know  him  yet,  Miss  Wangel . 

HILDA. 

[Looks  affectionately  at  herJ]  Are  you  pleased  at 
the  thought  of  moving  over  to  the  new  house  ? 

MRS.  SOLNESS. 

I  ought  to  be  pleased  ;  for  it  is  what  Ha'vard 
wants — 

HILDA. 
Oh,  not  just  on  that  account,  surely. 

MRS.  SOLNESS. 

Yes,  yes,  Miss  Wangel  ;  for  it  is  only  my 
duty  to  submit  myself  to  him.  But  very  often 
it  is  dreadfully  difficult  to  force  one's  mind  to 
obedience. 


322  THE  MASTER  BUILDER       [ACY  III. 

HILDA. 
Yes,  that  must  be  difficult  indeed. 

MRS.  SOLNESS. 

I  can  tell  you  it  is — when  one  has  so  many  faults 
as  I  have 

HILDA. 

When  one  has  gone  through  so  much  trouble 
as  you  have 

MRS.  SOLNESS. 
How  do  you  know  about  that  ? 

HILDA. 
Your  husband  told  me. 

MRS.  SOLNESS. 

To  me  he  very  seldom  mentions  these  things. — 
Yes,  I  can  tell  you  I  have  gone  through  more  than 
enough  trouble  in  my  life,  Miss  Wangel. 

HILDA. 

[Looks  sympathetically  at  her  and  nods  slowly.] 
Poor  Mrs.  Solness.  First  of  all  there  was  the 
fire 

MRS.  SOLNESS. 

[With  a  sigh.]  Yes,  everything  that  was  mine 
was  burnt. 

HILDA. 
And  then  came  what  was  worse. 

MRS.  SOLNESS. 
[Looking  inquiringly  at  her.]     Worse  ? 


ACT  III.]       THE   MASTER  BUILDER.  323 

HILDA. 
The  worst  of  all. 

MRS.  SOLNESS. 
What  do  you  mean  ? 

HILDA. 
[.So/%.]     You  lost  the  two  little  boys. 

MRS.  SOLNESS. 

Oh  yes,  the  boys.  But,  you  see,  that  was  a 
thing  apart.  That  was  a  dispensation  of  Provi- 
dence ;  and  in  such  things  one  can  only  bow  in 
submission— yes,  and  be  thankful,  too. 

HILDA. 
Then  you  are  so  ? 

MRS.  SOLNESS. 

Not  always,  1  am  sorry  to  say.  I  know  well 
enough  that  it  is  my  duty — but  all  the  same  I 
cannot. 

HILDA. 
No,  no,  I  think  that  is  only  natural. 

MRS.  SOLNESS. 

And  often  and  often  I  have  to  remind  myself 
that  it  was  a  righteous  punishment  for  me 

HILDA. 
Why? 

MRS.  SOLNESS. 

Because  I  had  not  fortitude  enough  in  mis- 
fortune. 


324  THE   MASTER   UUILDER.       [ACT  111. 

HILDA. 
But  I  don't  see  that — 

MRS.  SOLNESS. 

Oh,  no,  no,  Miss  Wangel — do  not  talk  to  me 
any  more  about  the  two  little  boys.  We  ought  to 
feel  nothing  but  joy  in  thinking  of  them;  for 
they  are  so  happy — so  happy  now.  No,  it  is  the 
small  losses  in  life  that  cut  one  to  the  heart— the 
loss  of  all  that  other  people  look  upon  as  almost 
nothing. 

HILDA. 

[Lays  her  arms  on  M  RS.  SOLN  ESS' s  knees,  and  fooks  up 
at.  her  affectionately. \  Dear  Mrs.  Solness — tell  me 
what  things  you  mean  ! 

MRS.  SOLNESS. 

As  I  say,  only  little  things.  All  the  old  por- 
traits were  burnt  on  the  walls.  And  all  the 
old  silk  dresses  were  burnt,  that  had  belonged  to 
the  family  for  generations  and  generations.  And 
all  mother's  and  grandmother's  lace — that  was 
burnt,  too.  And  only  think — the  jewels,  too  ! 
[Sadly,]  And  then  all  the  dolls. 

HILDA. 
The  dolls  ? 

MRS.  SOLNESS. 
[Choking  with  tears.]     I  had  nine  lovely  dolls. 

HILDA. 
And  they  were  burnt  too  ? 

MRS.  SOLNESS. 
All  of  them.     Oh,  it  was  hard — so  hard  for  me. 


ACT  III.]       THE  MASTER  BUILDER.         .        325 

HILDA. 

Had  you  put  by  all  these  dolls,  then  ?     Ever 
since  you  were  little  ? 

MR«.  SOLNESS. 

I  had   not  put  them  by.     The   dolls  and  I  had 
gone  on  living  together. 

HILDA. 
After  you  were  grown  up  ? 

MRS.  SOLNESS. 
Yes,  long  after  that. 

HILDA. 
After  you  were  married,  too  ? 

MRS.  SOLNESS. 
Oh  yes,  indeed.     So  long  as  he  did    not  see 

it .     But  they  were  all  burnt  up,  poor  things. 

No  one  thought  of  saving  them.  Oh,  it  is  so 
miserable  to  think  of.  You  mustn't  laugh  at  me, 
Miss  VVangel. 

HILDA. 
I  am  not  laughing  in  the  least. 

MRS.  SOLNESS. 

For  you  see,  in  a  certain  sense,  there  was  life 
in  them,  too.  I  carried  them  under  my  heart — 
like  little  unborn  children. 

DR.  HERDAL,  with  his  hat  in  his  hand,  comes  out 
through  the  door,  and  observes  MRS.  SOLNESS  and 
HILDA. 


326  THE    MASTER    BUILDER.          [ACT    III. 


DR.  HER  DAL, 

Weft,  Mrs.  Solness,  so  you  are  sitting  out  here 
catching  cold  ? 

MRS.  SoLNEss. 
I  find  it  so  pleasant  and  warm  here  to-day. 

DR.  HERDAL. 

Yes,  yes.  But  is  there  anything  going  on  here  ? 
I  got  a  note  from  you. 

MRS.  SOLNESS. 

[Rises.]  Yes,  there  is  something  I  must  talk  to 
you  about. 

DR.  HERDAL. 

Very  well  ;  then  perhaps  we  had  better  go  in. 
[To  HILDA.]  Still  in  your  mountaineering  dress, 
Miss  Wangel  ? 

HILDA. 

[Gaily,  rising.'}  Yes — in  full  uniform  !  But  to- 
day I  am  not  going  climbing  and  breaking  my 
neck.  We  two  will  stop  quietly  below  and  look 
on,  doctor. 

DR.  HERDAL. 
What  are  we  to  look  on  at  ? 

MRS.  SOLNESS. 

[Softly,  in  alarm,  to  HILDA  ]  Hush,  hush — for 
God's  sake  !  He  is  coming  !  Try  to  get  that 
idea  out  of  his  head.  And  let  us  be  friends,  Miss 
Wangel.  Don't  you  think  we  can  ? 

HILDA. 

[  Throws  her  arms  impetuously  round  MRS.  SOL- 
NESS'S  neck.]  Oh,  if  we  only  could ! 


ACT  III.]       THE   MASTER   BUILDER.  32*1 

MRS.  SOLNESS. 

[Gently  disengages  herself.]  There,  there,  there  ! 
There  he  comes,  doctor.  Let  me  have  a  word 
with  you. 

DR.  HERDAL. 
Is  it  about  him  ! 

MRS.  SOLNESS. 
Yes,  to  be  sure  it's  about  him.     Do  come  in. 

She  and  the  doctor  enter  the  house.  Next  moment 
SOLNESS  comes  up  from  the  garden  by  the  flight 
of  steps.  A  serious  look  comes  over  HILDA'S 
face. 

SOLNESS. 

[Glances  at  the  house-door,  which  is  closed  cautiously 
from  within.}  Have  you  noticed,  Hilda,  that  as 
soon  as  I  come,  she  goes  ? 

HILDA. 

I  have  noticed  that  as  soon  as  you  come,  you 
make  her  go. 

SOLNESS. 

Perhaps  so.  But  I  cannot  help  it.  [Looks  ob- 
servantly at  her.]  Are  you  cold,  Hilda  ?  I  think 
you  look  cold. 

HILDA. 
I  have  just  come  up  out  of  a  tomb. 

SOLNESS. 
What  do  you  mean  by  that? 


328  THE    MASTER    BUILDER.          [ACT    lit. 

HILDA. 

That  I  have  got  chilled  through  and  through, 
Mr.  Solness. 

SOLNESS. 

[Slowly.^     I  believe  I  understand 


HILDA. 
What  brings  you  up  here  just  now  ? 

SOLNESS. 
I  caught  sight  of  you  from  over  there. 

HILDA. 
But  then  you  must  have  seen  her  too  ? 

SOLNESS. 
I  knew  she  would  go  at  once  if  I  came. 

HILDA. 

Is  it  very  painful  for  you  that  she  should  avoid 
you  in  this  way  ? 

SOLNESS. 
In  one  sense,  it's  a  relief  as  well. 

HILDA. 
Not  to  have  her  before  your  eyes  ? 

SOLNESS. 
Yes. 

HILDA. 

Not  to  be  always  seeing  how  heavily  the  loss  of 
the  little  boys  weighs  upon  her  f 


ACT    III.]          THE    MASTER    BUILDER.  329 

SOLNESS. 

Yes.     Chiefly  that. 

[HILDA  drifts  across  the  verandah  with  her 
hands  behind  her  back,  stops  at  the  railing 
and  looks  out  over  the  garden. 

SOLNESS. 

[After  a  short  pause.}  Did  you  have  a  long  talk 
with  her? 

[HILDA  stands  motionless  and  does  not  answer. 

SOLNESS  . 
Had  you  a  long  talk,  I  asked  ? 

[HILDA  is  silent  as  before. 

SOLNESS. 
What  was  she  talking  about,  Hilda  ? 

[HILDA  continues  silent. 

SOLNESS. 

Poor  Aline  !  I  suppose  it  was  about  the  little 
boys. 

HILDA. 

[A  nervous  shudder  runs  through  her  ;  then 
she  nods  hurriedly  once  or  twice. 

SOLNESS. 

She  will  never  get  over  it — never  in  this  world. 
[Approaches  her.}  Now  you  are  standing  there 
again  like  a  statue ;  just  as  you  stood  last  night. 

HILDA. 

[Turns  and  looks  at  him,  with  great  serious  eyes.} 
I  am  going  away. 


330  THE    MASTER    BUILDER.          [ACT    III. 

SoLNESS. 

[Sharply .~\     Going  away  ! 

HILDA. 
Yes. 

SOLNESS. 
But  I  won't  allow  you  to  ! 

HILDA. 
What  am  I  to  do  here  now  ? 

SOLNESS. 
Simply  to  be  here,  Hilda  ! 

HILDA. 

[Measures  him.  with  a  look.]  Oh,  thank  you.  You 
know  it  wouldn't  end  there. 

SOLNESS. 
[Heedlessly.]     So  much  the  better  ! 

HILDA. 

[Vehemently.]  I  cannot  do  any  harm  to  one 
whom  I  know  !  I  can't  take  away  anything  that 
belongs  to  her. 

SOLNESS. 

Who  wants  you  to  do  that  ? 

HILDA. 

[Continuing.]  A  stranger,  yes  !  for  that  is  quite 
a  different  thing  !  A  person  I  have  never  set  eyes 
on.  But  one  that  I  have  come  into  close  contact 
with !  Oh  no  !  Oh  no !  Ugh  !. 


ACT    III.]          THE    MASTER    BUILDER.  331 

SOLNESS. 

Yes,  but  I  never  proposed  you  should. 

HILDA. 

Oh,  Mr.  Solness,  you  know  quite  well  what  the 
end  of  it  would  be.  And  that  is  why  I  am  going 
away. 

SOLNESS. 

And  what  is  to  become  of  me  when  you  are 
gone  ?  What  shall  I  have  to  live  for  then? — 
After  that  ? 

HILDA. 

[With  the  indefinable  look  in  her  eyes.]  It  is  surely 
not  so  hard  for  you.  You  have  your  duties  to  her. 
Live  for  those  duties. 

SOLNESS. 
Too  late.     These  powers — these — these 

HILDA. 
devils 

SOLNESS. 

Yes,  these  devils  !  And  the  troll  within  me  as 
well — they  have  drawn  all  the  life-blood  out  of  her. 
[Laughs  in  desperation.]  They  did  it  for  my  hap- 
piness !  Yes,  yes  !  [Sadly.]  And  now  she  is 
dead — for  my  sake.  And  I  am  chained  alive  to  a 
dead  woman.  [7n  wild  anguish.]  I — /  who  can- 
not live  without  joy  in  life  ! 

[HILDA  moves  round  the  table  and  seats 
herself  on  the  bench,  with  her  elbows  on 
the  table,  and  her  head  supported  In/  her 
hands. 


332  THE  MASTER  BUILDER.       [ACT  111. 

HILDA. 

[Sits  and  looks  at  him  awhile.]  What  will  you 
build  next  ? 

SOLNESS. 

[Shakes  his  head.]  I  don't  believe  I  shall  build 
much  more. 

HILDA. 

Not  those  cosy,  happy  homes  for  mother  and 
father,  and  for  the  troop  of  children  ? 

SOLNESS. 

I  wonder  whether  there  will  be  any  use  for  such 
homes  in  the  coming  time. 

HILDA. 

Poor  Mr.   Solness !      And  you  have    gone  all 

these  ten  years — and  staked  your  whole  life — on 
that  alone. 

SOLNESS. 
Yes,  you  may  well  say  so,  Hilda. 

HILDA. 

[With  an  outburst.]  Oh,  it  all  seems  to  me  so 
foolish — so  foolish  ! 

SOLNESS. 
All  what  ? 

HILDA. 

Not  to  be  able  to  grasp  at  your  own  happiness 
— at  your  own  life !  Merely  because  some  one  you 
know  happens  to  stand  in  the  way ! 

SOLNESS. 
One  whom  you  have  no  right  to  set  aside. 


ACT  III.]       THE  MASTER  BUILDER.  333 

HILDA. 
I  wonder  whether  one  really  has  not  the  right ! 

And  yet,  and  yet .     Oh !  if  one  could  only 

sleep  the  whole  thing  away  ! 

[She  lays  her  arms  flat  down  on  the  table, 
rests  the  left  side  of  her  head  on  her 
hands,  and  shuts  her  eyes. 

SOLNESS. 

[Turns  the  arm-chair  and  sits  down  at  the  table.] 
Had  you  a  cosy,  happy  home — up  there  with 
your  father,  Hilda  ? 

HILDA. 

[Without  stirring,  answers  as  if  half  asleep.}  I 
had  only  a  cage. 

SOLNESS. 
And  you  are  determined  not  to  go  back  to  it  ? 

HILDA 

[As  before.}  The  wild  bird  never  wants  to  go 
into  the  cage. 

SOLNESS. 
Rather  range  through  the  free  air 

HILDA. 

[Still  as  before.]  The  bird  of  prey  loves  to 
range — 

SOLNESS. 

[Lets  his  eyes  rest  on  her.]  If  only  one  had  the 
viking-spirit  in  life — 

HILDA. 

[In  her  usual  voice ;  opens  her  eyes  but  does  not 
move.]  And  the  other  thing  ?  Say  what  that  was  ! 


334  THE    MASTER    BUILDER.          [ACT    III. 

SOLNESS. 

A  robust  conscience. 

[HILDA  sits  erect  on  the  bench,  with  anima- 
tion. Her  eyes  have  once  more  the 
sparkling  expression  of  gladness. 

HILDA. 

[Nods  to  him.]     I  know  what  you  are  going  to 
build  next ! 

SOLNESS. 
Then  you  know  more  than  I  do,  Hilda. 

HILDA. 
Yes,  builders  are  such  stupid  people. 

SOLNESS. 
What  is  it  to  be  then  ? 

HILDA. 
[Nods  again.]     The  castle. 

SOLNESS. 
What  castle  ? 

HILDA. 
My  castle,  of  course. 

SOLNESS. 
Do  you  want  a  castle  now  ? 

HILDA. 

Don't  you  owe  me  a  kingdom,  I  should  like  to 
know  ? 

SOLNESS. 
You  say  I  do. 


ACT  111.]       THE   MASTER   BUILDER.  335 

HILDA. 

Well — you  admit  you  owe  me  this  kingdom. 
And  you  can't  have  a  kingdom  without  a  royal 
castle,  I  should  think  ! 

SOLNESS. 

[More  and  more  animated.]  Yes,  they  usually  go 
together. 

HILDA. 
Good  '     Then  build  it  for  me  !     This  moment ! 

SOLNESS. 

[Laughing.]  Must  you  have  that  on  the  instant, 
too? 

HILDA. 

Yes,  to  be  sure  !  For  the  ten  years  are  up  now, 
and  I  am  not  going  to  wait  any  longer.  So — out 
with  the  castle,  Mr.  Solness  ! 

SOLNESS. 
It's  no  light  matter  to  owe  you  anything,  Hilda. 

HILDA. 

You  should  have  thought  of  that  before.  It  is 
too  late  now.  So — [tapping  the  table] — the  castle 
on  the  table  !  It  is  my  castle!  I  will  have  it  at 
once  ! 

SOLNESS. 

[More  seriously,  leans  over  towards  her,  with  his 
arms  on  the  table]  What  sort  of  castle  have  you 
imagined,  Hilda  ? 

[Her  expression  becomes  more  and  more 
veiled.  She  seems  gazing  inwards  at 
herself. 


336  THE  MASTER  BUILDER.       [ACT  III. 

HILDA. 

[Slowly.']  My  castle  shall  stand  on  a  height — 
on  a  very  great  height — with  a  clear  outlook  on 
all  sides,  so  that  I  can  see  far — far  around. 

SOLNESS. 
And  no  doubt  it  is  to  have  a  high  tower  ! 

HILDA. 

A  tremendously  high  tower.  And  at  the  very 
top  of  the  tower  there  shall  be  a  balcony.  And  I 
will  stand  out  upon  it — 

SOLNESS. 

[Invohiniarily  clutches  at  his  forehead.]  How  can 
you  like  to  stand  at  such  a  dizzy  height ? 

HILDA. 

Yes,  I  will !  Right  up  there  will  I  stand  and 
look  down  on  the  other  people — on  those  that  are 
building  churches,  and  homes  for  mother  and 
father  and  the  troop  of  children.  And  you  may 
come  up  and  look  on  at  it,  too. 

SOLNESS. 

[In  a  low  tone.]  Is  the  builder  to  be  allowed  to 
come  up  beside  the  princess  ? 

HILDA. 
If  the  builder  will. 

SOLNESS. 

[More  softly.]  Then  I  think  the  builder  will 
come. 


ACT  III.]       THE  MASTER   BUILDER.  337 

HILDA. 
[Nods.]     The  builder — he  will  come. 

SOLNESS. 

But  he  will  never  be  able  to  build  any  more. 
Poorbuilder  ! 

HILDA. 

[Animated.*  Oh  yes,  he  will !  We  two  will  set 
to  work  together.  And  then  we  will  build  the 
loveliest — the  very  loveliest — thing  in  all  the 
world. 

SOLNESS. 
[Intently.]     Hilda — tell  me  what  that  is ! 

HILDA. 

[Looks  smilingly  at  him,  shakes  her  head  a  little, 
pouts,  and  speaks  as  if  to  a  child.]  Builders — they 
are  such  very — very  stupid  people. 

SOLNESS. 

Yes,  no  doubt  they  are  stupid.  But  now  tell 
me  what  it  is — the  loveliest  thing  in  the  world — 
that  we  two  are  to  build  together  ? 

HILDA. 

[Is  silent  a  little  while,  then  says  with  an  indefinable 
expression  in  her  eyes.]  Castles  in  the  air. 

SOLNESS. 
Castles  in  the  air  ? 

HILDA. 

[Nods.]  Castles  in  the  air,  yes  !  Do  you  know 
what  sort  of  thing  a  castle  in  the  air  is  ? 

X  Y 


338  THE    MASTER    BUILDER.          [ACT    III. 

SOLNESS. 

It  is  the  loveliest  thing  in  the  world,  you  say. 

HILDA. 

[Rises  with  vehemence,  and  makes  a  gesture  of 
repulsion  with  her  hand.]  Yes,  to  be  sure  it  is ! 
Castles  in  the  air — they  are  so  easy  to  take  refuge 
in.  And  so  easy  to  build,  too — [looks  scornfully 
at  him] — especially  for  the  builders  who  have  a — a 
dizzy  conscience. 

SOLNESS. 

[/fore*.]  After  this  day  we  two  will  build 
together,  Hilda. 

HILDA. 

[With  a  half-dubious  smile.]  A  real  castle  in 
the  air  ? 

SOLNESS. 
Yes.     One  with  a  firm  foundation  under  it. 

RAGNAR  BROVIK  comes  out  from  the  house.  He  is 
carrying  a  large,  green  wreath  with  jlowers  and 
silk  ribbons. 

HILDA. 

[  With  an  outburst  of  pleasure.]  The  wreath ! 
Oh,  that  will  be  glorious  ! 

SOLNESS. 

[In  surprise.]  Have  you  brought  the  wreath 
liagnar  ? 

RAGNAR. 
I  promised  the  foreman  I  would. 


ACT    III.]         THE    MASTER    BUILDER.  339 

SoLNESS. 

[Relieved.]     Ah,  then  I  suppose  your  father  is 
better  ? 

RAGNAR. 
No. 

SOLNESS. 
Was  he  not  cheered  by  what  I  wrote  ? 

RAGNAR. 
It  came  too  late. 

SOLNESS. 
Too  late  ! 

RAGNAR. 

When  she  came  with  it  he  was  unconscious.    He 
had  had  a  stroke. 

SOLNESS. 

Why,  then,  you  must  go  home   to  him  !     You 
must  attend  to  your  father  ! 

RAGNAR. 
He  does  not  need  me  any  more. 

SOLNESS. 
But  surely  you  ought  to  be  with  him 

RAGNAR. 
She  is  sitting  by  his  bed. 

SOLNESS. 
[Rather  uncertainly.]     Kaia  ? 

RAGNAR. 
[Looking  darkly  at  him.]     Yes — Kaia. 


340  THE     MASTER    BUILDER.          [ACT    III. 

SoLNESS. 

Go  home,  Ragnar — both  to  him  and  to  her. 
Give  me  the  wreath. 

RAGNAR. 

[Suppresses  a  mocking  smile.]  You  don't  mean 
that  you  yourself ? 

SOLNESS. 

I  will  take  it  down  to  them  myself.  [Takes  the 
wreath  from  him.]  And  now  you  go  home  ;  we 
don't  require  you  to-day. 

RAGNAR. 

I  know  you  do  not  require  me  any  more ;  but 
to-day  I  shall  remain. 

SOLNESS. 
Well,  remain  then,  since  you  are  bent  upon  it. 

HILDA. 

[At  the.  railing.]  Mr.  Solness,  I  will  stand  here 
and  look  on  at  you. 

SOLNESS. 
At  me ! 

HILDA. 
It  will  be  fearfully  thrilling. 

SOLNESS. 

[In  a  lom  tone.]  We  will  talk  about  that 
presently,  Hilda. 

[He  goes  down  the  flight  of  steps  mth  the 
n-rcnlh,  and  away  through  the  garden. 


ACT  III.]       THE   MASTER   BUILDER.  341 

HILDA. 

[Looks  after  him,  then  turns  to  RAGNAR.]  I  think 
you  might  at  least  have  thanked  him. 

RAGNAR. 
Thanked  him  ?  Ought  I  to  have  thanked  him? 

HILDA. 
Yes,  of  course  you  ought ! 

RAGNAR. 
I  think  it  is  rather  you  I  ought  to  thank. 

HILDA. 
How  can  you  say  such  a  thing  ? 

RAGNAR. 

[Without  answering  her.]  But  I  advise  you  to 
take  care,  Miss  Wangel !  For  you  don't  know 
him  rightly  yet. 

HILDA. 

[Ardently.]  Oh,  no  one  knows  him  as  I 
do! 

RAGNAR. 

[Laughs  in  exasperation.]  Thank  him,  when  he 
has  held  me  down  year  after  year  !  When  he  made 
father  disbelieve  in  me — made  me  disbelieve  in 
myself !  And  all  merely  that  he  might ! 

HILDA. 

[As  if  divining  something.]     That  he  might ? 

Tell  me  at  once  ! 

RAGNAR. 
That  he  might  keep  her  with  him. 


342  THE  MASTER   BUILDER.       [ACT  III. 

HILDA. 

[  With  a  start  towards  kirn.]    The  girl  at  the  desk. 

RAGNAR. 
Yes. 

HILDA. 

[Threateningly,  clenching  her  hands.]  That  is  not 
true  !  You  are  telling  falsehoods  about  him  ! 

RAGNAR. 

I  would  not  believe  it  either  until  to-day — when 
she  said  so  herself. 

HILDA. 

[As  if  beside  herself.]  What  did  she  say?  I 
will  know  !  At  once  !  at  once  ! 

RAGNAR. 

She  said  that  he  had  taken  possession  of  her 
mind — her  whole  mind — centred  all  her  thoughts 
upon  himself  alone.  She  says  that  she  can  never 
leave  him — that  she  will  remain  here,  vhere  he 

HILDA. 

[  With  flashing  eyes.]  She  will  not  be  allowed 
to! 

RAGNAR. 
[As  if  feeling  his  may.]     Who  will  not  allow  her  ? 

HILDA. 

[Rapidly.]     He  will  not  either  ! 

RAGNAR. 

Oh  no— I  understand  the  whole  thing  now. 
After  this,  she  would  merely  be — in  the  way. 


ACT  III.]       THE   MASTER   BUILDER.  343 

HILDA. 

You  understand  nothing — since  you  can  talk 
like  that !  No,  7  will  tell  you  why  he  kept  hold 
of  her. 

RAGNAR. 
Well  then,  why  ? 

HILDA. 
In  order  to  keep  hold  of  you. 

RAGNAR. 
Has  he  told  you  so  ? 

HILDA. 

No,  but  it  is  so.  It  must  be  so!  [Wildly.] 
I  will — I  will  have  it  so  ! 

RAGNAR. 

And  at  the  very  moment  when  you  came — he 
let  her  go. 

HILDA. 

It  was  you — you  that  he  let  go  !  What  do  you 
suppose  he  cares  about  strange  women  like  her  ? 

RAGNAR. 

[Reflects.]  Is  it  possible  that  all  this  time  he 
has  been  afraid  of  me  ? 

HILDA. 

He  afraid !  I  would  not  be  so  conceited  if  I 
were  you. 

RAGNAR. 

Oh,  he  must  have  seen  long  ago  that  I  had 
something  in  me,  too.  Besides — cowardly — that 
is  just  what  he  is,  you  see. 


344  THE   MASTER   BUILDER.        [ACT  III. 

HILDA. 
He !     Oh  yes,  I  am  likely  to  believe  that  ! 

RAGNAR. 

In  a  certain  sense  he  is  cowardly — he,  the  great 
master  builder.  He  is  not  afraid  of  robbing  others 
of  their  life's  happiness — as  he  has  done  both  for 
my  father  and  for  me.  But  when  it  comes  to 
climbing  up  a  paltry  bit  of  scaffolding — he  will  do 
anything  rather  than  that. 

HILDA. 

Oh,  you  should  just  have  seen  him  high,  high 
up — at  the  dizzy  height  where  I  once  saw  him. 

RAGNAR. 
Did  you  see  that  ? 

HILDA. 

Yes,  indeed  I  did.  How  free  and  great  he  looked 
as  he  stood  and  fastened  the  wreath  to  the  church 
vane ! 

RAGNAR. 

I  know  that  he  ventured  that,  once  in  his  life 
— one  solitary  time.  It  is  a  legend  among  us 
younger  men.  But  no  power  on  earth  would 
induce  him  to  do  it  again. 

HILDA. 
To-day  he  will  do  it  again  ! 

RAGNAR. 
[Scornfully.]     Yes,  I  daresay ! 

HILDA. 
We  shall  see  it ! 


ACT  III.]       THE   MASTER   BUILDER.  345 

RAGNAR. 
That  neither  you  nor  I  will  see. 

HILDA. 

[With  uncontrollable  vehemence.]  I  will  see  it  ' 
I  will  and  I  must  see  it! 

RAGNAR. 

But  he  will  not  do  it.  He  simply  dare  not  do 
it.  For  you  see  he  cannot  get  over  this  infirmity 
— master  builder  though  he  be. 

MRS.    SOLNESS    comes    from  the    house    on   to   the 
verandah. 

MRS.  SOLNESS. 

[Looks  around.]  Is  he  not  here  ?  Where  has  he 
gone  to  ? 

RAGNAR. 
Mr.  Solness  is  down  with  the  men. 

HILDA. 
He  took  the  wreath  with  him. 

MRS.  SOLNESS. 

[Terrified.]  Took  the  wreath  with  him  !  Oh 
God  !  oh  God  !  Brovik — you  must  go  down  to 
him  !  Get  him  to  come  back  here  ! 

RAGNAR. 

Shall  1  say  you  want  to  speak  to  him,  Mrs.  Sol- 
ness  ? 

MRS.  SOLNESS. 

Oh  yes,  do  ! — No,  no — don't  say  that  7  want 
anything !  You  can  say  that  somebody  is  here, 
and  that  he  must  come  at  once. 


346  THE  MASTER  BUILDER.       [ACT  III. 

RAGNAR. 
Good.     I  will  do  so,  Mrs.  Sol  ness. 

[He  goes  down  the  flight  of  steps  and  away 
through  the  garden. 

MRS.  SOLNESS. 

Oh,  Miss  Wangel,  you  can't  think  how  anxious 
I  feel  about  him. 

HILDA. 

Is  there  anything  in  this  to  be  so  terribly 
frightened  about  ? 

MRS.  SOLNESS. 

Oh  yes;  surely  you  can  understand.  Just  think, 
if  he  were  really  to  do  it !  If  he  should  take  it 
into  his  head  to  climb  up  the  scaffolding  ! 

HILDA. 
[Eagerly .]     Do  you  think  he  will  ? 

MRS.  SOLNESS. 

Oh,  one  can  never  tell  what  he  might  take  into 
his  head.  I  am  afraid  there  is  nothing  he  mightn't 
think  of  doing. 

HILDA. 

Aha !  Perhaps  you  too  think  that  he  is  — 
well ? 

MRS.  SOLNESS. 

Oh,  I  don't  know  what  to  think  about  him 
now.  The  doctor  has  been  telling  me  all  sorts  of 
things ;  and  putting  it  all  together  with  several 
things  1  have  heard  him  say 


ACT  in.]       THE  MASTER   BUILDER  34? 

DR.  HERDAL  looks  out,  at  the  door. 

DR.  HERDAL. 
Is  he  not  coming  soon  ? 

MRS.  SOLNESS. 

Yes,  I  think  so.  I  have  sent  for  him  at  any 
rate. 

DR.  HERDAL. 

[Advancing.]  I  am  afraid  you  will  have  to  go 
in,  my  dear  lady 

MRS.  SOLNESS. 

Oh  no  !  Oh  no!  I  shall  stay  out.  here  and  wait 
for  Halvard. 

DR.  HERDAL. 

But  some  ladies  have  just  come  to  call  on 
you — 

MRS.  SOLNESS. 

Good  heavens,  that  too!  And  just  at  this 
moment ! 

DR.  HERDAL. 

They  say  they  positively  must  see  the  cere- 
mony. 

MRS.  SOLNESS. 

Well,  well,  I  suppose  I  must  go  to  them  after 
all.  It  is  my  duty. 

HILDA. 
Can't  you  ask  the  ladies  to  go  away  ? 

MRS.  SOLNESS. 

No,  that  would  never  do.  Now  that  they  are 
here,  it  is  my  duty  to  see  them.  But  do  you  stay 
out  here  in  the  meantime — and  receive  him  when 
he  comes. 


348  THE  MASTER  BUILDER.       [ACT  III. 

DH.  HERDAL. 

And  try  to  occupy  his  attention  as  long  as  pos- 
sible  

MRS.  SOLNESS. 

Yes,  do,  dear  Miss  W angel.     Keep  as  firm  hold 
of  him  as  ever  you  can. 

HILDA. 
Would  it  not  be  best  for  you  to  do  that  ? 

MRS.  SOLNESS. 

Yes ;  God  knows  that  is  my  duty.     But  when 
one  has  duties  in  so  many  directions 

DR.  HERDAL. 
[Looks  towards  the  garden.]    There  he  is  coming. 

MRS.  SOLNESS. 
And  I  have  to  go  in  ! 

DR.  HERDAL. 

\To  HILDA.]      Don't   say  anything   about  m  y 
being  here. 

HILDA. 

Oh  no  !     I  daresay  I  shall  find  something  else 
to  talk  to  Mr.  Solness  about. 

MRS.  SOLNESS. 

And  be  sure  you  keep  firm  hold  of  him.     I  be- 
lieve you  can  do  it  best. 

[MRS.  SOLNESS  and  DR.  HERDAL  go  into 
the  house.  HILDA  remains  standing  on 
the  verandah.  SOLNESS  comes  from  the 
garden,  up  thejlight  of  steps. 


ACT    III.]          THE    MASTER    BUILDER.  349 

SOLNESS. 

Somebody  wants  me,  I  hear. 

HILDA. 
Yes  ;  it  is  I,  Mr.  Solness. 

SOLNESS. 

Oh,  is  it  you,  Hilda  ?     I  was  afraid  it  might  be 
Aline  or  the  Doctor. 

HILDA. 
You  are  very  easily  frightened,  it  seems  ! 

SOLNESS. 
Do  you  think  so  ? 

HILDA. 

Yes  ;  people  say  that  you   are  afraid  to  climb 
about — on  the  scaffoldings,  you  know. 

SOLNESS. 
Well,  that  is  quite  a  special  thing. 

HILDA. 
Then  it  is  true  that  you  are  afraid  to  do  it  ? 

SOLNESS. 
Yes,  I  am. 

HILDA. 
Afraid  of  falling  down  and  killing  yourself? 

SOLNESS. 
No,  not  of  that. 

HILDA, 
Of  what,  then  ? 


350  THE    MASTER    BUILDER.          [ACT    III. 

SoLNESS. 

I  am  afraid  of  retribution,  Hilda. 

HILDA. 

Of  retribution  ?  [Shakes  her  head.]  I  don't 
understand  that. 

SOLNESS. 
Sit  down,  and  I  will  tell  you  something. 

HILDA. 
Yes,  do  !     At  once  ! 

[She  sits  on  a  stool  by  the  railing,  and  looks 
expectantly  at  him. 

SOLNESS. 

[Throws  his  hat  on  the  table.]  You  know  that  I 
began  by  building  churches. 

HILDA. 
[Nods]     I  know  that  well. 

SOLNESS. 

For,  you  see,  I  came  as  a  boy  from  a  pious 
home  in  the  country  ;  and  so  it  seemed  to  me  that 
this  church-building  was  the  noblest  task  I  could 
set  myself. 

HILDA. 
Yes,  yes. 

SOLNESS. 

And  I  venture  to  say  that  I  built  those  poor 
little  churches  with  such  honest  and  warm  and 
heartfelt  devotion  that — that 

HILDA. 
That ?     Well  ? 


ACT    III.]          THE    MASTER    BUILDER.  351 

SOLNESS. 

Well,  that  I  think  that  he  ought  to  have  been 
pleased  with  me. 

HILDA. 
He?     What  he? 

SOLNESS. 

He  who  was  to  have  the  churches,  of  course  ! 
He  to  whose  honour  and  glory  they  were  dedi- 
cated. 

HILDA. 

Oh,  indeed  !  But  are  you  certain,  then,  that — 
that  he  was  not — pleased  with  you  ? 

SOLNESS. 

[Scornfully.]  He  pleased  with  me!  How  can 
you  talk  so,  Hilda  ?  He  who  gave  the  troll  in 
me  leave  to  lord  it  just  as  it  pleased.  He  who 
bade  them  be  at  hand  to  serve  me,  both  day  and 
night — all  these — all  these 

HILDA. 
Devils — 

SOLNESS. 

Yes,  of  both  kinds.  Oh  no,  he  made  me  feel 
clearly  enough  that  he  was  not  pleased  with  me. 
[Mysteriously.]  You  see,  that  was  really  the  reason 
why  he  made  the  old  house  burn  down. 

HILDA, 
Was  that  why  ? 

SOLNESS. 

Yes,  don't  you  understand  ?  He  wanted  to  give 
me  the  chance  of  becoming  an  accomplished  mas- 
ter in  my  own  sphere — so  that  I  might  build  all 


352  THE    MASTER    BUILDER.          [ACT    III. 

the  more  glorious  churches  for  him.  At  first  I 
did  not  understand  what  he  was  driving  at ;  but 
all  of  a  sudden  it  flashed  upon  me. 

HILDA. 
When  was  that  ? 

SoLNESS. 

If  was  when  I  was  building  the  church-tower 
up  at  Lysanger. 

HILDA. 

I  thought  so. 

SOLNESS. 

For  you  see,  Hilda — up  there,  amidst  those  new 
surroundings,  I  used  to  go  about  musing  and  pon- 
dering within  myself.  Then  I  saw  plainly  why 
he  had  taken  my  little  children  from  me.  It  was 
that  I  should  have  nothing  else  to  attach  myself 
to.  No  such  thing  as  love  and  happiness,  you 
understand.  I  was  to  be  only  a  master  builder — 
nothing  else.  And  all  my  life  long  I  was  to  go 
on  building  for  him.  [Laughs.]  But  I  can  tell 
you  nothing  came  of  that ! 

HILDA. 
What  did  you  do,  then  ? 

SOLNESS. 
First    of    all,    1    searched    and    tried    my    own 

heart 

HILDA. 
And  then  ? 

SOLNESS. 

Then  I  did  the  impossible — I  no  less  than 
he. 


ACT  III.]       THE  MASTER  BUILDER.  353 

HILDA. 
The  impossible  ? 

SoLNESS. 

I  had  never  before  been  able  to  climb  up  to  a 
great,  free  height.  But  that  day  I  did  it. 

HILDA. 
[Leaping  up.]     Yes,  yes,  you  did  ! 

SOLNESS. 

And  when  I  stood  there,  high  over  everything, 
and  was  hanging  the  wreath  over  the  vane,  I  said 
to  him  :  Hear  me  now,  thou  Mighty  One  !  From 
this  day  forward  I  will  be  a  free  builder — I  too,  in 
my  sphere — just  as  thou  in  thine.  I  will  never 
more  build  churches  for  thee — only  homes  for 
human  beings. 

HILDA. 

[With  great  sparkling  eyes.]  That  was  the  song 
that  I  heard  through  the  air ! 

SOLNESS. 
But  afterwards  his  turn  came. 

HILDA. 
What  do  you  mean  by  that  ? 

SOLNESS. 

[Looks  despondently  at  her.]  Building  homes  for 
human  beings — is  not  worth  a  rap,  Hilda. 

HILDA. 
Do  you  say  that  now  ? 


354  THE    MASTER    BUILDER,          [ACT    III. 

SoLNESS. 

Yes,  for  now  I  see  it.  Men  have  no  use  for  these 
homes  of  theirs — to  be  happy  in.  And  I  should 
not  have  had  any  use  for  such  a  home,  if  I  had  had 
one.  \With  a  quiet,  bitter  laugh.]  See,  that  is  the 
upshot  of  the  whole  affair,  however  far  back  I 
look.  Nothing  really  built ;  nor  anything  sacri- 
ficed for  the  chance  of  building.  Nothing,  nothing  ! 
the  whole  is  nothing  ! 

HILDA. 
Then  you  will  never  build  anything  more  ? 

SOLNESS. 

[With  animation.}  On  the  contrary,  I  am  just 
going  to  begin  ! 

HILDA. 

What,  then  ?  What  will  you  build  ?  Tell  me 
at  once  ! 

SOLNESS. 

I  believe  there  is  only  one  possible  dwelling- 
place  for  human  happiness — and  that  is  what  I  am 
going  to  build  now. 

HILDA. 

[Looks  fixedly  at  himJ\  Mr.  Solness — you  mean 
our  castles  in  the  air. 

SOLNESS. 
The  castles  in  the  air — yes. 

HILDA. 

I  am  afraid  you  would  turn  dizzy  before  we  got 
half-way  up. 


ACT    III.]          THE     MASTER     BUILDER.  355 

SOLNESS. 

Not  if  I  can  mount  hand  in  hand  with  you, 
Hilda. 

HILDA. 

\With  an  expression  of  suppressed  resentment.] 
Only  with  me  ?  Will  there  be  no  others  of  the 
party  ? 

SOLNESS. 
Who  else  should  there  be  ? 

HILDA. 

Oh — that  girl — that  Kaia  at  the  desk.  Poor 
thing — don't  you  want  to  take  her  with  you  too  r 

SOLNESS. 

Oho  !  Was  it  about  her  that  Aline  was  talking 
to  you  ? 

HILDA. 
Is  it  so — or  is  it  not  ? 

SOLNESS. 

[Vehemently.]  I  will  not  answer  such  a  question 
You  must  believe  in  me,  wholly  and  entirely  ! 

HILDA 

All  these  ten  years  I  have  believed  in  you  so 
utterly — so  utterly. 

SOLNESS. 
You  must  go  on  believing  in  me  ! 

HILDA. 
Then  let  me  see  you  stand  free  and  high  up ! 


35()  THE    MASTER    BUILDER.          [ACT    III, 

SOLNESS. 

[Sadly.]  Oh  Hilda — it  is  not  every  day  that  I 
can  do  that. 

HILDA. 

[ Passionately. ]  I  will  have  you  do  it !  I  will 
have  it!  [Imploringly.]  Just  once  more,  Mr, 
Solness  i  Do  the  impossible  once  again  t 

SOLNESS. 

[Stands  and  looks  deep  into  her  eyes.]  I  f  I  try  it, 
Hilda,  I  will  stand  up  there  and  talk  to  him  as  I 
did  that  time  before. 

HILDA. 

[In  rising  excitement.]  What  will  you  say  to 
him  ? 

SOLNESS. 

I  will  say  to  him  :  Hear  me,  Mighty  Lord — 
thou  may'st  judge  me  as  seems  best  to  thee.  But 
hereafter  I  will  build  nothing  but  the  loveliest 

thing  in  the  world 

HILDA. 
[Carried  away.]     Yes — yes — yes! 

SOLNESS. 
— build   it   together   with   a    princess,   whom    I 

love 

HILDA. 

Yes,  tell  him  that  !     Tell  him  that ! 

SOLNESS. 

Yes.  And  then  I  will  say  to  him :  Now  I  shall 
go  down  and  throw  my  arms  round  her  and  kiss 
her — 

HILDA. 

— many  times  !     Say  that1 


ACT    III.]          THE    MASTER    BUILDER.  357 

SOLNESS. 

— many,  many  times,  I  will  say 

HILDA. 
And  then ? 

SOLNESS. 

Then  I  will  wave  my  hat — and  come   down  to 
the  earth — and  do  as  I  said  to  him. 

HILDA, 

[With  outstretched  arms]     Now  I  see  you  again 
as  I  did  when  there  was  song  in  the  air  ' 

SOLNESS. 

[Looks  at  her  with  his  head  bowed.]  How  have  you 
become  what  you  are,  Hilda  ? 

HILDA. 
How  have  you  made  me  what  I  am  ? 

SOLNESS. 

[Shortly   and  firmly.]     The  princess  shall  have 
her  castle. 

HILDA 

[Jubilant,   clapping   her  hands.]      Oh,    Mr.    Sol- 
ness !     My  lovely,  lovely  castle.     Our  castle 

in  the  air  ! 

SOLNESS. 
On  a  firm  foundation. 

[In  thestieeta  crowd  of  people  has  assembled, 
vaguely  seen  through  the  trees.     Music  of 
wind-instruments  is  heard  far  away  be 
hind  the  new  house. 


358  THE    MASTER    BUILDER.          [ACT    III. 

MRS.  SOLNESS,  with  a  fur  collar  round  her  neck, 
DOCTOR  HERDAL  with  her  white  shawl  on  his 
arm,  and  some  ladies,  come  out  on  the  verandah. 
RAGNAR  BROVIK  comes  at  the  same  time  up  from 
the  garden. 

MRS.  SOLNESS. 
[To  RAGNAR.]     Are  we  to  have  music,  too  ? 

RAGNAR. 

Yes.  It's  the  band  of  the  Mason's  Union.  [To 
SOLNESS.]  The  foreman  asked  me  to  teli  you  that 
he  is  ready  now  to  go  up  with  the  wreath. 

SOLNESS. 

[Takes  his  hat.]  Good.  I  will  go  down  to  him 
myself. 

MRS.  SOLNESS. 

[Anxiously.]  What  have  you  to  do  down  theft, 
Halvard  ? 

SOLNESS. 
[Curtly.]     I  must  be  down  below  with  the  men, 

MRS.   SOLNESS. 
Yes,  down  below — only  down  below. 

SoLNtss. 

That  is  where  I  always  stand — on  everyday 
occasions. 

[He  goes  down  the  jiight  of  steps  and  anay 
through  the  garden. 

MRS.  SOLNESS. 

[Calls  after  him  over  the  railing.]  But  do  beg  the 
man  to  be  careful  when  he  goes  up  '  Promise 
me  that,  Halvard  ' 


ACT  III.]       THE   MASTER   BUILDER.  359 

DR.  HERDAL. 

[To  MRS.  SOLNESS.]  Don't  you  see  that  I  was 
right  ?  He  has  given  up  all  thought  of  that 
folly. 

MRS.  SOLNESS. 

Oh,  what  a  relief  !  Twice  workmen  have  fallen, 
and  each  time  they  were  killed  on  the  spot, 
[Turns  to  HILDA.]  Thank  you,  Miss  Wangel,  for 
having  kept  such  a  firm  hold  upon  him.  I  should 
never  have  bee  nable  to  manage  him. 

DR.  HERDAL. 

[Playfully  ]  Yes,  yes,  Miss  Wangel,  you  know 
how  to  keep  firm  hold  on  a  man,  when  you  give 
your  mind  to  it. 

[MRS.  SOLNESS  and  DR.  HERDAL  go  up  to 
the  ladies,  who  are  standing  nearer  to  the 
steps  and  looking  over  the  garden.  HILDA 
remains  standing  beside  the  railing  in  the 
foreground.  RAGNAR  goes  up  to  her. 

RAGNAR. 

[JVith  suppressed  laughter,  half  whispering.]  Miss 
Wangel — do  you  see  all  those  young  fellows  down 
in  the  street  ? 

HILDA. 
Yes. 

RAGNAR. 

They  are  my  fellow  students,  come  to  look  at 
the  master. 

HILDA. 
What  do  they  want  to  look  at  him  for  ? 


360  THE  MASTER   BUILDER.       [ACT  III 

RAGNAR. 

They  want  to  see  how  he  daren't  climb  to  the 
top  of  his  own  house. 

HILDA. 

Oh,  that  is  what  those  boys  want,  is  it? 

RAGNAR. 

[Spitefully  and  scornfully.'}  He  has  kept  us  down 
so  long — now  we  are  going  to  see  him  keep 
quietly  down  below  himself. 

HILDA. 
You  will  not  see  that — not  this  time. 

RAGNAR. 

[Smiles.']  Indeed  !  Then  where  shall  we  see 
him  ? 

HILDA. 

High — high  up  by  the  vane  '  That  is  where 
you  will  see  him  ! 

RAGNAR. 
[Laughs.]     Him  !     Oh  yes,  I  daresay ! 

HILDA. 

His  will  is  to  reach  the  top — so  at  the  top  you 
shall  see  him. 

RAGNAR. 

His  will,  yes;  that  I  can  easily  believe.  But 
he  simply  cannot  do  it.  His  head  would  swim 
round,  long,  long  before  he  got  half-way.  He 
would  have  to  erawl  down  again  on  his  hands  and 
knees. 


ACT  III.]       THE  MASTER  BUILDER.  36l 

DR.  HERDAL. 

[Points  across.]  Look  !  There  goes  the  foreman 
up  the  ladders. 

MRS.  SOLNESS. 

And  of  course  he  has  the  wreath  to  carry  too. 
Oh,  I  do  hope  he  will  be  careful ! 

RAGNAR. 

[Stares  incredulously  and  shouts.]  Why,  but 
it's 

HILDA. 

[Breaking  out  in  jubilation.]  It  is  the  master 
builder  himself? 

MRS.  SOLNESS. 

[Screams  with  terror.]  Yes,  it  is  Halvard !  Oh 
my  great  God !  Halvard  !  Halvard  ! 

DR.  HERDAL. 
Hush  !     Don't  shout  to  him  ! 

MRS.  SOLNESS. 

[Half  beside  herself.]  I  must  go  to  him  !  I  must 
get  him  to  come  down  again  ! 

DR.  HERDAL. 

[Holds  her.]  Don't  move,  any  of  you  !  Not  a 
sound ! 

HILDA. 

[Immovable,  Jollotvs  SOLNESS  with  her  eyes.]  He 
climbs  and  climbs.  Higher  and  higher !  Higher 
and  higher  !  Look  .'  Just  look  l 


362  THE  MASTER  BUILDER.       [ACT  III. 

RAGNAR. 

[Breathless.']     He    must   turn  now.     He    can't 
possibly  help  it. 

HILDA. 

He  climbs  and  climbs.     He  will  soon  be  at  the 
top  now. 

MRS.    SOLNESS. 

Oh,  I  shall  die  of  terror.     I  cannot  bear  to  see 
it. 

DR.  HERDAL. 
Then  don't  look  up  at  him. 

HILDA. 

There   he  is  standing  on   the  topmost  planks 
Right  at  the  top  ! 

DR.  HERDAL. 
Nobody  must  move  !     Do  you  hear  ? 

HILDA. 

[Exulting,  with  quiet  intensity.]     At  last !     At  last ! 
Now  I  see  him  great  and  free  again  ! 

RAGNAR. 
[Almost  voiceless.']     But  this  is  im 


HILDA. 

So  I  have  seen  him  all  through  these  ten  years. 
How  secure  he  stands  !  Frightfully  thrilling  all 
the  same.  Look  at  him  !  Now  he  is  hanging  the 
wreath  round  the  vane  ! 


ACT  III.]       THE  MASTER  BUILDER.  363 

RAGNAR. 

I  feel  as  if  I  were  looking  at  something  utterly 
impossible. 

HILDA. 

Yes,  it  is  the  impossible  that  he  is  doing  now  ! 
[With  the  indefinable  expression  in  her  ei/es.~\  Can 
you  see  any  one  else  up  there  with  him  ? 

RAGNAR. 
There  is  no  one  else. 


HILDA. 
Yes,  there  is  one  he  is  striving  with. 

RAGNAR. 
You  are  mistaken. 

HILDA. 
Then  do  you  hear  no  song  in  the  air,  either  ? 

RAGNAR. 
It  must  be  the  wind  in  the  tree-tops. 

HILDA. 

/  hear  a  song — a  mighty  song  !  [Shouts  in  wild 
jubilation  and  glee.]  Look,  look !  Now  he  is 
waving  his  hat !  He  is  waving  it  to  us  down  here  ! 
Oh,  wave,  wave  back  to  him !  For  now  it  is 
finished  !  [Snatches  the  white  shawl  from  the  Doctor, 
waves  it,  and  shouts  up  to  SOLNESS.]  Hurrah  for 
Master  Builder  Solness  ! 


THE  MASTER  BUILDER.       [ACT  III- 

DR.  HERDAL. 

Stop  !     Stop       For  God's  sake ! 

[The  ladies  on  the  verandah  wave  their 
pocket-handkerchiefs,  and  the  shouts  of 
"  Hurrah "  are  taken  up  in  the  street 
below.  Then  they  are  suddenly  silenced, 
and  the  crowd  bursts  out  into  a  shriek  of 
horror.  A  human  body,  with  planks  and 
fragments  of  wood,  is  vaguely  perceived 
crashing  down  behind  the  trees. 

MRS.  SoLNESS    AND    THE    LADIES. 

[At  the  same  time.']  He  is  falling  !  He  is  falling  ! 
[MRS.  SOLNESS  totters,  falls  backwards, 
swooning,  and  is  caught,  amid  cries  and 
confusion,  by  the  ladies.  The  crowd  in 
the  street  breaks  down  the  fence  and 
storms  into  the  garden.  At  the  same  time 
DR.  HERDAL,  too,  rushes  down  thither. 
A  short  pause. 

HILDA. 

[Stares  fixedly  upwards  and  says,  as  if  petrified.'] 
My  Master  Builder. 

RAGNAR. 

[Supports  himself,  trembling,  against  the  ratling. 
He  must  be  dashed  to  pieces — killed  on  the  spot. 

ONE  OF  THE  LADIES. 

[Whilst  MRS.  SOLNESS  is  carried  into  the  house.] 
Run  down  for  the  doctor 


RAGNAR. 
I  can't  stir  a  root 


ACT  III.]       THE  MASTER  BUILDER.  365 

ANOTHER  LADY. 
Then  call  to  some  one  ! 

RAGNAR. 
[Tries  to  call  out.]     How  is  it  ?     Is  he  alive  ? 

A  VOICE. 
[Below,  in  the  garden.]     Mr.  Solness  is  dead  ' 

OTHER  VOICES. 

[Nearer.]     The  head   is    all    crushed. — He  fell 
right  into  the  quarry. 

HILDA. 

[Turns  to  RAGNAR,  and  says  quietly .]  I  can't  see 
him  up  there  now. 

RAGNAR.      * 

This  is  terrible.  So,  after  all,  he  could  not  do 
it. 

HILDA. 

[As  if  in  quiet  spell-bound  triumph.]  But  he 
mounted  right  to  the  top  And  1  heard  harps  in 
the  air.  [  Waves  her  shawl  in  the  air,  and  shrieks  with 
wild  intensity.]  My — my  Master  Builder! 


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